Asluo  of  itfoscs. 


(That  tnljtch  uoas  oner  a  rose  — 
3  fragrant  fire  of  bloom   - 

£s  brali,  anil  here  rrposr 
Els  asius  tit  thr  tomb. 


3oy  of  .1  summer  bay, 
Ourrn  of  thf  gnrtru's  host; 

memories  are 
CTh.it  hober  roiint)  its  ghost ': 


ah,  loue.  I  shoulD  t).iUf  knoron 
vTtir  magtr  of  such  biiss ; 

tts  lips  onee  touched  gotir  oron, 
Els  liust  stilt  knows  that  kiss! 


/•Y«jw*  Hrm filler  Sit 


A  New  Necessary  Science* 
A  Study  for  Teaching  or 
Self  Improvement 


The  Grace  of  Man. 


-By- 

ROBERT  F.  THUMA. 


ILLUSTRATED. 


Pittsburgh,  PJU,  U.  &.  A. 

The  Myers  &  Shinkle  Company,  Printers 

J897. 


Copyrighted  J897, 
By  ROBERT  F.  THUMA. 


DEDICATED 

To  the  Pupils  who  in  the  past  have  zealously  studied  the  precepts  of 
this  work  and  by  their  progress  in  Physical  and  Spiritual 
Development  have  inspired  me  with  the  thought  of  putting  in 
print  the  Ethics  of  the  "  Grace  of  Man." 


2GCGGG3 


THE  highest  desire  any  reasonable  man  can  cherish,  or  the 
highest  prerogative  he  may  possibly  claim  is  to  become  per- 
fect. Desire  results  from  attraction,  attraction  results  from 
the  separation  of  two  substances,  analogous  in  their  essences  and 
properties.  This  was  well  known  to  the  Ancients,  although  claimed 
by  modern  science ;  modern  science  indeed,  which  deals  in  nothing 
more,  as  a  rule,  than  observations,  and  the  classification  thereof,  of  ex- 
tempore phenomena,  the  causes  of  which  it  knows  naught  of ;  whereas, 
I  claim  that  science  in  its  purest  and  highest  view,  is  the  self  knowl- 
edge of  the  fundamental  laws  of  Nature,  and  is  in  consequence  a 
spiritual  science,  based  upon  the  knowledge  of  our  inner  selves. 

Man  is  composed  essentially  of  seven  principles  each  dependent  in 
a  way  one  upon  the  other ;  clearly  demonstrating  the  alleged  modern 
axiom,  "  action  and  reaction  are  equal."  We  have  but  three  princi- 
ples of  man  to  deal  with  directly  in  the  following  treatise ;  but  to 
the  student,  who  desires  a  full  comprehension,  let  him  investigate  his 
other  principles,  and  learn  the  significance  of  the  six  pointed  star. 


INDEX. 


Frontispiece,  "  Ashes  of  Roses." 

Instructions, ix 

Analysis  of  Subjects, xii 

Synopsis — The  Thuma  Study  of  Grace, 1 


Gravity, 7 

Seven  Exercises  for  the  Control  of  Centre  of  Gravity— Why, 11 

Derivations — Exercises  for  the  Control  of  Centre  of  Gravity, 13 

Seven  Laws  for  the  Control  of  Gravity 16 


Corrective  Exercises  of  the  Physical  Body, 

Series  I.— (From  Base  to  Waist  Line,)  17 

Seven  Corrective  Exercises  for  the  Physical  Body, 21 

Derivations — Corrective  Exercises  for  the  Physical  Body, 23 

Seven  Laws  for  the  Physical  Corrections  of  the  Body,  (Series  I) . .  26 


Corrective  Exercises  of  the  Physical  Body, 

Series  II.— (Waist  to  Neck  Inclusive),  29 

Seven  Corrective  Exercises  for  the  Physical  Body, 33 

Derivations — Corrective  Exercises  for  the  Physical  Body, 35 

Seven  Laws  for  the  Physical  Corrections  of  the  Body,  (Series  II),  38 


INDEX.-Continued. 


Corrective  Exercises  of  the  Physical  Body, 

Series  III.— (Head  and  Arms) 41 

Seven  Corrective  Exercises  for  the  Physical  Body, 45 

Derivations — Corrective  Exercises  for  the  Physical  Body, 47 

Seven  Laws  for  the  Physical  Corrections  of  the  Body,  (Series  III),  50 


The  Anatomy  of  the  Elements  of  Man— The  Trinity, 53 

The  Soul,  The  Physical  Body  and  Grace, 55 

The  Location  of  the  Elements  in  the  Physical  Body, 57 

Sub-division — the  Head, 58 

Sub-division — the  Trunk, 59 

Sub-division — the  Extremities, 60 

The  Main  Forces, 61 


The  Study  of  Curved  Lines, 63 

Derivations, 65 

The  Alphabet, 66 

The  Seven  Arm  Positions, 67 

Circles — Mental 68 

Seven  Circle  Exercises, 70 

Wave  Lines — Emotional, 74 

Seven  Wave  Line  Exercises, 76 

Spiral  Movements — Power, 82 

Seven  Spiral  Exercises, 86 

Seven  Laws  for  the  Curved  Lines, 93 


INDEX.-Continued. 


PAGB. 

Flexibility 95 

Seven  Flexing  Exercises, 98 

Seven  Relaxation  Exercises, 100 

Seven  Falling  Exercises, 102 

Attitudes 105 

Straight  Attitudes, 108 

Arch  Attitudes, 110 

Bendings, 112 

Straight  (Knee  Bend)  Attitudes, 114 

Arch  (Knee  Bend)  Attitudes, 116 

Kneeling  Attitudes, 118 

Reclining  Attitudes, 118 

Lying  Attitudes, 118 

Poise, 120 


Force 121 

Reserve  Power, 124 

Exercises  for  the  Cultivation  of  Reserve  Power, 125 

Spiritual  Force,. 126 

Aphorisms  to  Cultivate  Spiritual  Force, 127 

Physical  Power, 128 

Seven  Walking  Exercises, 1 29 

Will  Power, 130 

Aphorisms  to  Cultivate  Will  Power, 131 

Personal  Magnetism 132 

Exercises  for  the  Cultivation  of  Personal  Magnetism, 133 

Hypnotism 134 


INDEX.— Continued. 

PAGK. 

Poise,  Opposition  and  Harmony 135 

Exemplification, 137 

Harmony, 138 

Laws  of  Opposition  and  Harmony,  Showing  the  Harmony  of  the 

Whole, 139 

Analysis  of  Attitudes,  Showing  Harmony  and  Opposition, 146 


The  Mind 151 

Axioms  for  Developing  the  Mind, 153 

Inspiration, 154 

Ideality, 155 

The  Study  of  the  Soul, 157 

To  Cultivate  the  Soul, 160 

The  Soul  Responds, 161 

Duality, 163 

Studies  in  Grace 165 

The  Blending  Pictures— Descriptive, 166 

The  Visions,  or  the  Play  of  the  Emotions — Descriptive, 167 

A  "  Solo  "—Taken  from  Exercises  in  this  Book— Descriptive, .. ..  168 

The  Blending  Pictures — Illustrated  Explanation, 170 

The  Visions,  or  the  Play  of  Emotions — Illustrated  Explanation,.  176 

A  "  Solo  "—Illustrated  Explanation, 180 

Music— Viola  Gavotte 182 


Appendix, 184 


INSTRUCTIONS. 


INSTRUCTIONS. 

The  primary  object  to  be  borne  in  mind  is  that  the  philosophy  of 
this  science  is 

THE  EXPRESSION  OF  THE  SOUL, 

THROUGH  THE  MIND, 

BY  MOTION  OF  THE  BODY. 

First,  the  body  is  perfected  with  physical  corrective  exercises  for 
the  body. 

Second,  the  mind  is  placed  in  touch  with  movements  of  the  body, 
by  expressing  mental  intentions  and  feelings  with  movements  of 
the  body. 

Third,  these  mental  expressions  with  body  movements,  are  inten- 
sified, until  the  soul  expression  (or  personal  magnetism)  is  developed 
and  the  soul  is  reached. 


KEYNOTE. 

The  keynote  upon  which  this  work  is  founded  is  the 
TRINITY, 
THREE  IN  ONE. 

Each  part  of  the  Trinity  having  a  sub-division  of 

SEVEN  PARTS — (no  more,  no  less), 

Each  separate  part  of  the  seven  having 
THREE  HARMONIES. 


SUBJECTS. 

In  the  Table  of  Analysis  of  Subjects,  which  follows,  will  be  found 
Seven  Trinities  of  Subjects.  Each  subject  being  complete  in  itself, 
but  is  a  part  of  the  other  two. 

GRAVITY. 

Gravity  is  the  foundation  of  Poise  and  Grace  and  is  one  of  the 
first  studies  in  this  work  to  be  mastered.  It  will  bear  an  analysis  of 
three  divisions  or  seven  derivations  and  contains  twenty-one  exercises. 


PHYSICAL  BODY. 

For  the  physical  perfection  the  body  is  divided  into  three  distinct 
series  of  seven  parts  each,  (no  more,  no  less),  and  these  are  given  three 
distinct  exercises  for  the  perfection  of  each  one  of  these  parts,  namely : 

SERIES       I. — From  Base  to  Waist  Line. 
SERIES     II. — Waist  to  Neck,  inclusive. 
SERIES  III. — Head  and  Arms. 
Each  series  containing  seven  parts  consisting  of  twenty-one  exercises. 

CURVED  LINES  OR  GRACE  OF  MOVEMENTS. 

The  study  of  Grace  or  Curved  Lines  is  the  result  or  reflection 
of  perfect  physical  corrections. 

FORCE. 

The  development  of  the  forces  within  us,  starts  with  the  first  ex- 
ercise, and  will  be  found  applicable  or  adjuncts  of  all  the  studies. 
The  finish  of  the  Grace  of  Man  is  the  perfection  of  the  Physical 
body,  and  the  development  of  the  Forces  within  us.  The  end  being 
Personal  Magnetism. 

DUALITY. 

The  study  of  Duality  is  carried  on  throughout  this  work,  although 
in  esoteric  form.  In  the  duality  of  matter  the  force  or  element  that 
connects  it,  creates  the  Trinity. 

COURSE  OF  STUDY. 

The  subjects  given  in  the  analysis  (next  page,)  are  placed  in  this 
work  as  they  should  be  taken  up.  Each  study  is  complete  under 
separate  headings,  starting  with  easy  construction  for  No.  1,  and  in- 
creasing to  construction  No.  7,  none  of  which  are  difficult  to  execute. 
The  student  or  teacher  should  read  the  book  first  and  then  master 
«ach  part  complete. 


APPENDIX. 


The  Appendix  given  on  last  page  of  this  book,  shows  how  to  im- 
part this  study  to  the  pupil,  or  class,  and  may  be  followed  either  by 
the  teacher  or  student.  That  is,  taking  the  simple  constructions  of 
No.  1,  of  all  the  subjects,  and  adding  until  the  book  is  mastered. 
The  number  of  lessons  necessary  should  be  left  to  the  teacher. 


ANALYSIS  OF  SUBJECTS. 

The  Trinity  of  Man 

is  the  Soul,  the  Mind,  and  the  Body. 

GRAVITY.  FLEXIBILITY.  FORCE. 

(Mental.)  (Emotional.)  (Power.) 


II.  THE  PHYSICAL  CORRECTIONS  OF  THE  BODY. 

SERIES  I.  SERIES  II.  SERIES  III. 

(Physical.)  (Emotional.)  (Mental.) 

Seven  parts  to  each  Series,  showing  Perfection,  Relation,  Harmony. 

III.  THE  ANATOMY  OF  THE  ELEMENTS  OF  MAN. 

The  Trinity. 
THE  MENTAL.          THE  EMOTIONAL.        THE  PHYSICAL. 

Showing  the  Trinity  in  every  part  of  the  Physical  body. 


IV. 

ATTITUDES. 

OPPOSITION. 

HARMONY. 

(Mental.) 

(Emotional.) 

(Strength.) 

V. 

CURVED  LINES. 

WAVE  LINES. 

SPIRAL  LINES. 

(Mental.) 

(Emotional.  ) 

(Strength.) 

VI.       THE  MIND.  INSPIRATION.  IDEALITY. 


VII.     THE  SOUL.  PERSONAL  MAGNETISM.  DUALITY. 


SYNOPSIS. 


THE  THUMA  STUDY  OF  GRACE, 

BY    ROBERT    F.    THUMA. 


"THUMA  ZITHRA"  is  the  translation  of  this  motto.  Thuma 
meaning  soul,  and  Zithra,  grace,  or  the  "  grace  of  soul,"  and  it  is 
the  seal  of  the  writer.  To  be  graceful  of  body,  the  mind  must 
be  cultivated  by  thought  and  study  that  pertains  to  our  subject,  and 
through  that  unseen  instrument,  the  mind,  we  can  reach  the  soul. 
Therefore  to  be  truly  graceful,  we  must  have  grace  of  soul  and  leave 
the  movements  of  the  body  to  be  but  the  reflection  of  our  innermost 
being. 

Did  you  ever  see  a  graceful  person  who  had  not  corresponding 
traits  in  mind  and  soul  ?  On  this  premise  I  shall  attempt  to 
show  why  it  lies  within  the  power  of  every  one  to  be  as  graceful  as 
he  could  desire. 

When  I  speak  of  grace,  I  mean  the  glorifying  kind,  the  beauti- 
ful that  elevates  and  purifies,  and  there  is  no  grander,  stronger  gift 
than  that  to  be  desired. 

My  idea  is  that,  "  The  Grace  of  God  "  means  the  synthesis  of  all 
power,  beauty,  goodness  and  charity.  The  very  essence  of  all  that 
relates  to  the  higher  world,  is  embodied  in  these  words,  "  The  Grace 
of  God."  On  this  basis  I  have  founded  my  study,  and  the  grace  of 
man  will  bear  an  analysis  which  is  readily  comprehended  by  us 
mortals. 

A  potent  law  of  life  is,  that  "  habit  is  second  nature."  (That 
much  abused  word  "  habit.")  No  other  word,  will  exactly  express 
the  idea.  That  is,  if  you  form  a  bad  habit  or  a  good  one,  it  becomes 


a  part  of  your  very  existence.  Speaking  of  mortals,  what  are 
some  of  the  unwritten  elements  that  make  some  men  and  women 
tower  above  all  others  in  that  unseen  strength  which  we  feel  in 
their  presence,  but  can  not  explain  ?  Why  are  there  great  states- 
men, actors,  preachers,  and  men  who  carry  us  by  the  mere  force  of 
their  personality  ? 

They  possess  the  Grace  of  Man  in  some  form  or  other.  Can  these 
forces  be  cultivated  ?  Yes.  If  we  are  patterned  after  our  Creator, 
then  what  is  in  the  spiritual  is  also  in  the  flesh ;  you  may  enlarge  a 
muscle,  you  may  cultivate  the  mind,  you  can  give  the  soul  within 
more  freedom.  To  commence  this  study  we  must  start  with  the 
body,  and  cultivate  every  muscle  in  the  body  by  correcting  the  im- 
perfections. You  will  find  in  this  fine  instrument,  the  body,  an 
adjustment  and  harmony  that  cannot  be  duplicated.  Take  up  the 
study  of  the  beautiful,  it  feeds  the  eyes, — the  windows  of  the  soul. 
The  next  is  the  study  of  grace  of  movement  of  every  part  of  the 
body,  this  includes  the  harmony  of  one  muscle  with  the  other. 

If  the  student  has  practiced  corrective  exercises,  he  will  find  his 
movements  a  matter  of  grace  and  ease.  As  yet  we  have  only 
prepared  the  body,  in  training  as  it  were,  for  a  more  complete  end  of 
this  necessary  study,  to  be  a  fully  developed  person  and  to  have  a 
complete  existence. 

After  going  through  enough  practice  to  satisfy  the  body,  put  the 
Mind,  that  storehouse  of  intelligence  through  which  passes  the  link 
which  connects  the  soul  with  the  body,  in  action  with  these  move- 
ments of  grace  of  body.  Think  of  beautiful  subjects,  and  use 
heavenly  music,  for  is  not  music  "  the  language  of  angels  ;  "  conceive 
thoughts  of  this  nature  and  express  them  through  the  movements 
of  the  body.  To  illustrate,  we  mention  a  few  creations  of  the  author  : 
"  The  Visions  of  One  on  High,"  "Angels  at  Play,"  "  In  a  Garden 
Fair,"  "Death— A  Play  of  the  Emotions,"  "Castles  in  the  Air," 
"  The  Artist's  Dream,"  all  of  which  relates  to  the  subject  in  hand. 

A  practice  of  this  kind  will  develop  an  unseen  force — Personal 
Magnetism, — which  you  can  feel  and  which  will  intensify  with 


nursing  and  proper  environment.  Personal  Magnetism  is  created  by 
intensifying  the  thought  of  the  mind  until  the  soul  expression  is 
reached.  We  can  then  give  our  soul  freedom  to  glorify,  to  live  and 
prosper.  Can  you  not  see  how  a  man's  soul  is  narrowed  ?  To  study 
and  practice  the  beautiful  in  movements  with  the  body  trained, 
fostering  the  mental  forces  on  the  same  plane,  will  surely  bring  out 
the  soul  expression,  that  will  carry  all  before  it. 

Having  reached  this  point  you  will  then  have  no  trouble  to  reverse 
the  order,  that  is  to  say,  start  at  the  soul,  transmit  through  the  mind 
to  the  body  or  parts  thereof.  Have  your  soul  start  the  action 
and  express  it  by  the  personal  magnetism  or  soul  expression  in 
physical  form  of  action  of  the  body,  all  of  which  are  subservient  to 
that  instrument,  the  mind. 

Now  this  theory  must  be  thoroughly  understood.  It  has  been  a 
life  study  of  the  writer,  and  is  entirely  practicable.  These  teachings 
are  not  only  for  the  reader,  but  there  is  also  a  regular  course  of 
practice  to  accomplish  these  results. 

We  have  in  times  past  learned  "  Harmony  of  Poise  "  through  the 
Delsartean  Theory,  and  by  many  students  it  has  been  gathered  that 
you  can  trace  a  system  of  infinite  harmony  in  all  things,  man,  animals, 
nature,  and  in  the  elements,  and  as  we  go  upward  the  spiral  cycle 
enlarges  to  that  magnitude  that  is  far  beyond  the  mind  of  mortal. 
It  is  written  and  stands  to-day,  God  the  Father,  Son  and  Holy 
Ghost,  the  Trinity,  the  Three  in  One.  What  is  the  Grace  of  God  ? 
Love,  Wisdom,  Power.  In  man  the  corresponding  elements  are 
the  emotional,  the  mental  and  the  physical.  Man  is  composed  of 
these  elements.  The  perfect  being  is  one  that  is  endowed  with  an 
amount  of  these  elements,  harmoniously  balanced. 

The  perverted  man  may  be  all  mental  and  physical  and  no  emo- 
tion, or  all  mental  and  emotional  and  lack  physical,  and  there  are  as 
many  different  men  and  women  as  there  are  possible  combinations  aud 
tints,  as  it  were,  with  these  different  elements.  This  theory  will  apply 
to  all  colors,  to  all  arts,  to  all  things;  suffice  it  to  say  that  to  a  student  of 


this  lore,  the  elements  have  their  location  in  the  different  parts  of  the 
body,  and  in  each  part  of  the  body.  This  is  true  of  the  plant,  the 
earth  and  every  atom  of  life. 

The  first  work  of  this  new  study  then  is  the  correction  of 
imperfections,  such  as  lack  of  muscular  activity  of  the  limbs,  the 
correct  carriage  of  the  head  on  the  shoulders,  the  position  of  the  feet, 
the  straightening  of  the  back,  the  discontinuance  of  one  muscle  doing 
the  work  of  another.  For  instance,  the  neck  muscles  under  the  ears 
strengthening  the  carriage  of  the  head  instead  of  making  the  verte- 
bra muscle  in  the  back  do  all  the  work.  The  head  is  the  seat  of 
our  mentality ;  as  we  carry  it,  so  will  the  entire  body  try  to  adjust 
itself  to  a  harmonious  carriage. 

These  are  only  hints  of  the  study,  which  complete,  are  for  every 
part  of  the  body — the  toes,  heel,  knee,  thigh,  waist,  chest,  shoulders, 
elbow,  wrist,  hand,  fingers,  back,  spinal  column,  neck,  head,  etc. 
Three  months  study  of  an  hour  or  two  each  week  and  a  fair  knowl- 
edge of  the  work  can  be  gained,  to  say  nothing  of  the  benefits 
derived. 

The  study  of  the  beautiful,  the  curved  lines,  the  wave  lines, 
the  spiral  movements,  follow  in  regular  order  to  complete  the 
work.  Among  the  other  studies  embraced  herein  are  Reserve 
Power,  Personal  Magnetism,  Inspiration,  Gravity,  Flexibility  and 
Strength,  Poise  and  all  subjects  that  relate  to  THIS  STUDY  OF  GRACE, 
which  is 

THE  EXPRESSION  OF  THE  SOUL, 

THROUGH  THE  MIND, 

BY  MOTION  OF  THE  BODY. 


GRAVITY. 


GRAVITY. 

THE  CONTROL  OF  THE  CENTRE  OF  GRAVITY  OF  BODY. 

All  bodies,  the  earth,  a  ship,  or  a  pencil  have  a  centre  of  gravity. 
To  be  graceful  the  student  should  be  able  to  balance  the  body,  have 
the  muscles  under  control,  that  the  body  may  assume  any  graceful 
attitude  easily  balanced.  The  first  object  to  acquire  to  be  graceful, 
is  to  be  able  to  balance  the  body.  I  do  not  think  a  Delsartean  or 
any  one  could  be  graceful  without  this  part  of  our  study. 

The  method  of  finding  the  centre  of  gravity  of  any  object  is  worth 
knowing.  In  a  solid  ball,  perfectly  round,  the  centre  of  gravity 
would  naturally  be  exactly  in  the  centre.  Of  a  long  shaped  article 
of  even  weight  it  would  be  in  the  middle,  or  of  an  unevenly  shaped 
or  weighted  body  it  must  be  nearer  one  end.  Thus  a  ball  rolling 
down  a  hill  would  eventually  put  the  gravity  in  the  centre, 
and  for  instance,  the  earth  not  being  evenly  weighted,  the  gravity  is 
not  exactly  in  the  centre  of  the  mass.  To  ascertain  the  centre  of 
gravity  of  an  unevenly  weighted  object ,  i.  e.  a  stone,  suspend 
the  same  from  any  point  and  pass  a  plumb  line  from  point  of 
suspension  to  base  (perpendicular,)  then  re-hang  the  stone  from 
any  other  point  and  repeat  line ;  at  the  intersection  of  these  two  lines 
would  be  the  centre  of  gravity,  or  the  point  of  its  balance.  Now 
by  this  explanation  we  can  understand  what  is  meant  by  gravity. 

Gravity  of  body  consists  of  reserve  power  of  the  mind,  buoyancy 
or  natural  adjustment  of  the  body,  and  equilibrium,  in  any  attitude 
or  position. 


GRAVITY. 


Consists  of  1.     Reserve  Power — (Mental) — no  waste  of  vital  force. 


2.  Buoyancy         — (Emotional) — natural  adjustment  of 

muscles. 

3.  Equilibrium     — (Physical) — strength  of  poise. 


DERIVATIONS. 

1.  Control  of  centre  of  gravity. 

2.  Buoyancy. 

3.  Gravity  of  diagonal  lines. 

4.  Perpendicular  uniformity. 

5.  Propelling  power. 

6.  Beyond  the  base  line. 

7.  Mental  forces. 


PENDULUM. 

Step  to  right  on  right  foot  and  swing 
left  in  front  of  right  now  repeat,  step  to 
left,  on  left  foot  and  swing  right  in  front  of 
left  Hands  en  hips.  Continue  to  alter- 
nate, like  a  pendulum.  Count  1.  2.  3,  to 
each  swing,  (waltz  time.)  Do  16  times. 


piBorrrre. 

Step  to  right  with  right  foot  cross  left 
toe  o»er  right,  turning  completely  around 
while  rawed  on  toes.  Finish  in  a  clewed 
posttua.  Repeat  to  left  Hands  on  hips. 
Count  1.  2.  3,  4.  o» «.  ( waltz  time,  to  each 
turn.  Do  continuous.  14  times. 


# 


MERCURY  BALANCE 
Step  to  right  and  assume  this  attitude, 
balance  thus  down  and  up  on  one  foot.  8 
tunes,  (waltz  time.   6   liars       Repeat  to 
let!     Do  4  times. 


THE  ADVANCE. 
Step  forward  on  right  and  balance  on 
that  foot  by  drawing  the  teft  up  to  right  in 
the  back  raised.)  Count  1.  2.  3.  new 
repeat  by  stepping  back  on  left  aad  balance 
on  that  font  by  drawing  the  right  up  -jn 
left  in  front  raised.)  Count  1.  2.  3. 
(Waltz  time.)  Handi  on  hips.  Do  this 


BfOYA.VCT. 

Slide  nght  foot  out  in  front  and  tli«n 
quickly  draw  it  back;  at  same  time  slide 
left  foot  out  and  draw  it  hack.  Hands  on 
hips.  Do  this  continuous.  Count  1  Sc  2  & 
(march  time.)  Do  16  tinea. 


PIBOrETTE  AND  BINDING. 
Pirouette  (ID  to  left  and  then  face  to 
right  and  slide  left  foot  back  and  bend  to 
left,  (per  cnt)  Slowly  recorer  and  repeat 
to  left.  Hands  oa  hips.  Continue  to 
alternate.  Count  1.  2.  3.  4.  5.  6.  to  etch 
Pirowae  and  I.  i  3.  4.  5.  6.  to  each 
Bending.  (Walts  time]  Do  8  times. 


VII. 

THE  HEAD 

See  law  of  gramj  for  line  from  neck 
to  bed  Practice  foregoing  eiercisc*  ub- 
serrins  the  gravity  positions  of  the  hewt 
The  bead  taking  the  rhythm. 


SEVEN  EXERCISES  FOR  CONTROL  OF 
CENTRE  OF  GRAVITY— WHY. 


TITLES. 


GBAVITY 


THE  MIND. 


HABMONY 


PENDULUM.       Perpendicular       Rythm. 
Uniformity. 


Regularity 
of  Motion. 


II-      PlKOUETTE.       Control  of  Reserve 

Centre.  Power. 


Balance  of  Forces. 
Xo  vital  waste, 
unnecessary  mo- 
tion or  force  lost. 


III.    MEBCUBY         Diagonal 
BALANCE.         Lines. 


Mental  Control  of      Head  and 
Gravity      leaving       Acting  Foot, 
the  will  decide  in- 
cline. 


IV.     ADVANCE.         Propelling 
Power. 


Rythm. 


Regularity 
of  Motion. 


V.      BUOYANCY.       Grace  of  Induce 

Muscles.  Elasticity. 


Natural 
Adjustment. 


VI.     PrBOUETTE        Beyond  the 
BENDINGS.        Base  Lme 


Reserve 
Power. 


Suppleness 
Curve. 


VII.  HEAD. 


Mental 
Forces. 


Control  of 
Force. 


Intent. 


11 


No.  3. 

PtlfDOHJM  AXD 

LAIT  OF  OprosmoM 

rOB  THE  ARJIi 


No.  3. 

PreounTE  No.  2,  vtra 
A  RMS  OVER  HfUPM  FINISH. 


12 


EXERCISES  FOR  CONTROL  OF  CENTRE  OF  GRAVITY. 

DERIVATIONS. 
I. 

1.  PENDULUM. — See  explanation  page  10. 

2.  PENDULUM  AND  ARM  BALANCE. — Same  as  No.  1,  with  this 

addition — extend  arms  and  sway  the  body  with  the  swing  of 
the  foot.  Do  16  times.  Waltz  time. 

3.  PENDULUM  WITH  LAW  OF  OPPOSITION  FOR  THE  ARMS. — 

Same  as  No.  1,  with  this  addition — Raise  right  arm  over 
head,  when  you  swing  left  foot  in  front,  and  left  arm  over 
head  when  you  swing  right  foot.  Continue  to  alternate  16 
times.  Waltz  time. 

II. 

1.  PIROUETTE. — See  explanation  page  10. 

2.  PIROUETTE,  WITH  ELBOW  TURNED  AND  SINKING. — Same  as 

No.  1,  with  this  addition — when  turning  to  right  crook  right 
elbow  and  extend  left  arm.  This  should  be  done  while  the 
right  foot  is  being  extended.  Dissolve  this  arm  position  as 
you  are  turning  and  crook  left  elbow  and  extend  right  arm. 
The  hands  are  now  in  position,  turn  left.  The  sinking  (or 
bending  and  raising)  of  the  knee  is  done  as  you  assume  the 
closed  position  at  the  finish.  Count  1,  2,  3,  for  Pirouette,  and 
1,  2,  3  for  sinking  and  rising.  Do  16  times.  Waltz  time. 

3.  PIROUETTE  No.  2,  WITH  ARMS  OVER  HEAD  AT  FINISH. — Do 

No.  2  movement  complete,  at  turning  crook  elbow,  at  sinking 
hands  on  hips,  and  at  finish  of  feet  to  closed  position,  place 
hands  over  head,  as  in  cut.  Do  alternate  16  times.  Waltz 
time. 

III. 

1.  MERCURY  BALANCE. — See  explanation  page  10. 

2.  MERCURY  BALANCE  ALTERNATE,  AND  ARM  EXERCISE  No.  2. 

— Step  to  right,  assume  Mercury  Balance  attitude,  count  1,  2, 
3,  sinking  down  and  up  in  this  position,  count  1,  2,  3.  Repeat 
to  left,  count  1,  2,  3-1,  2,  3.  To  place  arms  in  position  (see 
attitude) — use  Arm  Exercise  No.  2  as  you  change  from  right 
to  left.  Continue  to  alternate.  Do  16  times.  Waltz  time. 

NOTE.— For  arm  movement,  see  study  of  curved  lines. 

3.  MERCURY  BALANCE  TURNING. — Assume  Mercury  Balance  to 

right  and  pivot  (turning)  on  right  foot  J  turn  to  each  count  of 
1,  2,  3.  Repeat  to  left.  Do  twice  to  right  and  twice  to  left. 
Waltz  time. 

ADDITIONAL. — Note  for  2.  Do  Pirouette  No.  2,  followed  by  Mer- 
cury Balance  No.  2,  to  right.  Repeat  complete  to  left,  is  a 
very  pretty  combination. 

13 


No.  3 
RBNHIKG  STATION-AST 


LAWS  OF  GRAVITY  —See  p«gc  16 
14 


IV. 

1.  THE  ADVANCE. — See  explanation  page  10. 

2.  TREADING  STATIONARY. — Mark  time  with  the  feet,  increasing 

the  elevation  of  the  foot  (the  toe  of  one  foot  reaching  the  knee 
of  the  other.)  March  time,  32  bars. 

3.  RUNNING  STATIONARY. — Hands  closed,  mouth  closed.     At  each 

tread  swing  the  foot  behind  (well  up)  as  if  running  but 
remaining  on  the  same  spot.  This  requires  a  strong  buoyancy 
or  balancing  of  the  body  at  each  tread.  Continue  until  body 
is  adjusted  to  a  natural  swing.  March  time,  32  bars. 

V. 

1.  BUOYANCY. — See  explanation  page  10. 

2.  BUOYANCY  DOUBLE. — Double  the  original  movement  on  each 

foot.  That  is,  slide  right  foot  out  in  front,  then  quickly  draw 
it  back,  repeat  with  right — at  same  time  slide  left  foot  out  and 
draw  it  quickly  back,  repeat  with  left  foot.  When  doubling 
the  movement  hop  on  standing  foot.  Do  alternate  16  times. 
March  time. 

3.  BUOYANCY  DOUBLE,  WITH  LAW  OF  OPPOSITION  FOR  ARMS. — 

Do  Buoyancy  No.  2  and  when  the  right  foot  is  acting  raise  the 
left  arm  over  head,  and  when  left  foot  is  acting,  raise  right  arm 
over  head.  Do  alternate  16  times.  March  time. 

VI. 

1.  PIROUETTE  AND  BENDINGS. — See  explanation  page  10. 

2.  PIROUETTE  BENDINGS  WITH  ARM  MOVEMENT  No.  3. — Same  as 

No.  1,  with  this  addition — crook  the  elbow  during  the 
Pirouette  and  add  Arm  Movement  No.  3  during  the  bend, 
as  in  cut.  6  counts  for  Pirouette  and  6  counts  for  Bendings. 
Do  alternate  8  times.  Waltz  time. 

3.  FORWARD  BEND.    MERCURY  BALANCE  ATTITUDE. — Assume 

Mercury  Balance  attitude  on  right  foot.  Bend  slowly  for- 
ward and  have  high  (right)  hand  touch  floor.  Recover  and  re- 
peat with  left  foot  and  left  hand.  Count  1,  2,  3,  4,  5,  6,  7,  8, 
for  each  bend.  Do  8  times.  Gavotte  music. 

VII. 

HEAD. — The  Head  indicates  and  finishes  the  Harmony  and  Gravity 

of  any  position.     (See  Laws  of  Harmony.) 
As  you  carry  your  Head  so  will  you  carry  your  whole  body. — (See 

Laws  of  Head.) 
The  Head  is  the  heaviest  separate  instrument  of  the  body.     It  is  the 

God  Head  of  our   body.      It   expresses   something   in   any 

attitude.     (See  Laws  of  Head.) 
Practice  the  laws  of  Gravity  of  Head  with  all  the  foregoing  exercises. 

15 


LAWS  FOR  CONTROL  OF  GRAVITY. 

1.  A    line   drawn    from    centre   of    back   of    neck   down    and 
diverging  at  base  of  spine  to  the  centre  of  each  heel  would  illustrate 
a  person  in  a  perfect  state  of  gravity  while  standing. 

2.  When  on  one  foot,  line  from  neck  to  heel  of  standing  foot, 
as  in  Mercury  Balance  and  Pirouette,  shows  regulation  of  gravity. 

3.  In  Bending,  a  line  drawn  from  centre  of  the  base  directly  up 
is  the  seat  of  the  control  of  gravity,  which  requires  an  opposition 
position  :  from  this  point  at  any  given  place,  may  be  another  subjective 
control,  which  again  requires  an  opposition  at  that  point.* 

4.  Law   of  Turning  or  Pirouette  is  to  step  (intent)  and  turn 
in  that  direction. 

5.  To  illustrate  the  law  of  the  control  of  gravity.     As  the  frame 
work  of  muscles  are  to  the  braces  in  a  bridge  or  butterfly  wTing — they 
are  or  become  rigid  when  assuming  a  poise  and  the  change  of  attitude 
of  the  body  necessitates  the  constant  change  of  gravity,  and  therefore 
becomes  mechanical. 

6.  The  Head  is  always  in  opposition  to  the  highest  hand,  when 
hand  is  above  the  line  of  vision. — (See  Laws  of  Opposition.) 

7.  There  must  be  an  opposition  of  weight  from  centre  of  gravity 
and  from  subjective  centres  and  this  is  changed  as  often  as  the  attitude 
changes,  which  constitutes  the  centre  of  gravity  or  equilibrium. 

*NOTE.— See  the  laws  of  Opposition  and  Cut  of  No.  3  Gravity,  page  14. 


16 


CORRECTIVE   EXERCISES  OF  THE 
PHYSICAL   BODY. 

Series   I. 
FROM  BASE  TO  WAIST  LINE. 


PHYSICAL  CORRECTIONS  OF  THE  BODY. 

(From  Base  to  Waist  Line— Series  I.) 

1.  THE  FOOT. 

The  base  on  which  the  body  rests  is  the  feet  and  ankles  and 
should  have  early  training  in  this  study  ;  then  we  will  be  sure  of  a  good 
foundation.  The  Toes,  Heels  and  Ankles,  should  have  considerable 
attention.  So  closely  allied  are  the  different  exercises  that  they 
should  be  practised  in  combination  to  retain  their  relationship. 
Here  I  desire  to  mention  that  of  all  the  different  parts  of 
the  body  that  will  be  studied,  the  Head  being  the  seat  of  the 
intellect  or  from  whence  the  intelligence  to  direct  and  the  intent 
of  action  is  formulated,  is  the  most  important. 

2.  THE  ANKLES. 

The  Ankles  should  be  of  the  same  use  to  the  feet  that  the  wrists 
are  to  the  hand  by  flexing  the  ankle,  the  muscles  are  stretched,  after 
which  in  combination  with  other  corrective  exercises  (the  Lock,  Toe 
Position,  etc.)  they  will  assist  control  of  Foot  and  force  the  Foot  to 
grow  or  turn  out.  The  harmony  of  Knee  Joint  and  Hip  must  be 
applied  as  the  latter  is  the  seat  from  whence  the  Feet  or  Limbs 
should  turn  out. 

3.  THE  HEEL. 

The  close  relation  of  the  Heel  to  Hip  muscle  is  here  mentioned,  as 
the  Hip  is  the  source  and  the  Heel  is  the  end.  From  the  Heel  are 
continued  other  muscles  which  control  the  foot. 

4.  THE  KXEE. 

The  Knee  bears  the  same  relation  to  the  body  as  the  spring  to  the 
bed  of  a  carriage.  As  we  progress  the  jar  of  the  entire  body  is  passed 
off  at  the  bending  of  the  Knees.  Thus,  to  jump  and  keep  the  Knees 
rigid,  will  jar  the  different  muscles,  even  to  the  hair  on  your  head, 
but  to  bend  the  knee  as  you  alight  will  relieve  all  jolts  that  the 
body  would  otherwise  experience. 

18 


5.     THE  IMPORTANCE  OF  THE  HIP. 

The  Hip  is  the  physical  element  of  the  leg,  (see  divisions 
of  the  anatomy  of  elements  of  man)  and  gives  the  power  to 
the  lower  extremities.  As  the  foot  is  the  mental,  the  knee  is  the 
emotional,  thus  in  order  to  turn  out  the  toes  (or  foot)  the  toes  should 
turn  out — giving  the  intent,  then  the  knee-joint,  and  then  Hip  (or 
Power)  should  be  applied  and  will  naturally  train  the  foot  to  turn 
out.  A  practice  of  these  exercises  will  easily  cure  so  called  pigeon- 
toed  people. 

6.     THE  THIGH. 

The  Thigh  should  be  strong  and  reliant  and  is  of  great  advantage 
when  so,  in  all  attitudes  where  the  legs  are  braced,  and  crossed  in 
bending. 

7.     THE  LEG. 

The  Leg  is  the  machinery  of  our  locomotion  and  that  denotes 
force.  The  best  exercises  which  are  given  are  those  that  relate  to  the 
individual  control  of  each  limb.  Under  the  subject  of  walking, 
given  elsewhere  more  information  may  be  had. 


19 


TOE  POSITION  EXERCISE. 
Extend  right  foot  in  front,  toe  touching 
floor.  Tap  4  times.  Repeat  with  left  foot. 
Hands  on  hips.  Leg  always  stretched. 
See  laws  for  toe.  Do  alternate  8  times. 
Schottiscbe  time. 


ANKLE  TWIST. 

Rise  on  right  toe  as  in  cut,  now  step 
down  on,  right  foot,  and  quickly  raise  on 
left  toe.  Repeat  with  left  toe.  Hands  on 
hips.  Twist  heel  well  out  front  each  time. 
Count  1  &  2  &  for  right  and  left,  foot.  Do 
continuous  32  times.  March  time. 


HEEL  TWIST. 

Step  on  right  heel,  (see  cnt)  count  1. 
quickly  change  weight  to  ball  of  left  foot  2, 
then  to  ball  of  right  foot  3.  Repeat  with 
left  heel  Hands  on  hips.  Twist  the  entire 
(foot  when  on  heel  from  in  to  out  Do  alter- 
nate 16  times.  Polka  time. 


KNEE  SPRING. 

Spring  and  kneel  as  per  cut  (front  view 
to  right  connt  2  bare  of  Polka  music. 
Repeat  to  left  Hands  on  hips.  CBC 
elasticity  of  knee  in  the  spring  to  relieve 
the  jar  in  alighting,  and  bend  backward 
when  kneeling.  Do  alternate  8  times. 
Polka  time. 


HIP  EXERCISE. 

Face  to  right  bop  on  right  foot  and 
raise  left  count  1,  hop  again  on  right  foot 
at  same  time  twist  left  out  and  face  left 
count  2.  (as  in  cut)  Now  hop  on  left  and 
repeat  with  twisting  right  out  count  3,  4. 
Hands  on  hips.  Do  alternate  16  times. 
Schottiscbe  time. 


THIGH  BRACE. 

Cross  right  foot  over  left  (weight  on  both 
feet)  now  turn  the  body  completely  round, 
(on  ball  of  foot)  but  do  not  release  your 
foot-hold  as  originally  crossed,  (per  cut) 
Now  return  body  to  place.  Hands  on  hips 
or  extended.  Do  8  times.  Repeat  by 
crossing  left  foot  over  right  Do  8  times. 
Count  1, 2,  3,  4,  5,  6,  to  each  turn.  Waltz 
time. 


LIMB  EXTENSION. 
Stand  on  left  foot  and  right  toe.  Extend 
and  raise  right  foot  straight  out  at  side, 
see  cut,)  repeat  slowly  8  times.  Repeat 
with  standing  on  right  foot  and  extend 
left  out  8  times,  Hands  on  hips.  Count 
1,  2,  3,  4,  6,  6,  7,  8,  for  «ach. 
and  finish.  Gavotte  music. 


SEVEN  CORRECTIVE  EXERCISES  OF  THE 
PHYSICAL  BODY. 

(From  Base  to  Waist  Line.— Series  I.) 


II- 


III 


IV. 


V. 


VI 


TITLES. 

CORRECT. 

RELATION. 

HARMONY. 

TOE 

To  point  toe. 

Stretching 

Toe  to  knee  to 

POSITION. 

front     muscles 

hip. 

of  leg  from 

waist  to  toe. 

ANKLE 

Turning  out 

Pliability     o  f, 

Heel  and  toes. 

TWIST. 

of  feet. 

and  use  of  base. 

Control  of  feet. 

HEEL  TWIST. 

Inclination    of 

Stretching 

Hip  to  knee 

heel  to   stand- 

back muscles  of 

joint  to  heel. 

ing  foot—  Turn- 

leg.    Outward 

ing  out  of  foot. 

turn    of  knee, 

thigh  and  hip. 

KNEE 

Springiness, 

Bouyancy, 

Shoulders  to 

SPRING. 

Activity  of  the 

Activity  of  hip 

carry  the  head 

lower  limbs. 

muscles  and 

properly. 

groin. 

HIP 

Turning  out  of 

Groins, 

Transmitting 

EXERCISE. 

extremities. 

Power  of    the 

offeree  to  these 

leg. 

seven  parts. 

THIGH 

Support. 

Brace  in  Poise, 

Firmness  of 

BRACE. 

Strength. 

Gravity. 

Carriage  in 

Poise. 

LIMB 

Individual 

Control   of 

Mental    deter- 

EXTENSION. 

control    of 

Gravity  in 

mination.    Di- 

lower limbs. 

Poise. 

rected    control 

of    the     seven 

parts    of    this 

series. 

21 


TOE  POSITION  EXERCISE 
See  page  20. 


No.  2. 

TOE  POSITION 
AND  ABM  EXTENSION. 


No.  3. 

TOE  POSITION  WITH 

LAW  OF  OPPOSITION 

OF  THE  ARMS. 


ANKLE  TWIST 
See  page  20. 


No.  2. 

ANKLE  TWIST 
ADVANCE  AND  RETIRE. 


No.  3. 

ANKLE  TWIST 

WITH  "  LOCK  "  OF  HANDS. 

ADVANCE  AND  RETIRE. 


HEEL  TWIST 
See  page  20. 


No.  2. 

PLAIN 

TOE  AND  HEEL. 


No.  3. 

TOE,  HEEL,  TOE  AND 
PAUSE 


22 


CORRECTIVE  EXERCISES  FOR  THE  PHYSICAL  BODY. 

(From  Base  to  Waist  Line. — Series  I.) 
DERIVATIONS. 


1.  TOE  POSITION  EXERCISE. — See  explanation  page  20. 

2.  TOE  POSITION  AND  ARM  EXTENSION. — Same  as  No.  1,  with 

this  addition — with  arms  extended,  when  executing  the  four 
taps  with  each  foot.  Do  16  times.  Schottische  time. 

3.  TOE  POSITION  WITH  LAW  OF  OPPOSITION  OF  THE  ARMS. — 

Same  as  No.  1,  with  this  addition — raise  left  arm  over  head, 
when  executing  the  4  taps  with  right  foot,  and  right  arm  over 
head  when  doing  the  same  with  left  foot.  Continue  to  alter- 
nate 16  times.  Schottische  time. 

II. 

1.  Ax  KLE  TWIST. — See  explanation  page  20. 

2.  ANKLE  TWIST,  ADVANCE  AND  RETIRE. — Same  as  No.  1,  with 

this  addition — move  forward  (advance)  executing  this  Ankle 
Twist  16  times,  then  move  backward  (retire)  executing  the 
Ankle  Twist  16  times.  Hands  on  hips.  Repeat  4  times. 
March  time. 

3.  ANKLE  TWIST  WITH  "LOCK." — Lock  the  arms  or  hands  up 

the  back  (per  cut,)  assume  an  erect  carriage,  with  arms  thus 
locked  and  executing  Ankle  Twist,  advance  16  times,  and 
retire  16  times.  Repeat  4  times.  March  time. 

III. 

1.  HEEL  TWIST. — See  explanation  page  20. 

2.  PLAIN  TOE  AND  HEEL. — Hop  on  right  foot  and  touch  left  toe 

on  floor,  (near  right  heel,)  count  1.  Hop  again  on  right  foot 
and  touch  left  heel  on  floor  (near  right  toe,)  count  2.  Hop 
on  right  foot  and  touch  left  toe  on  floor  (near  right  heel,) 
count  3.  Hop  on  right  foot  and  touch  left  heel  on  floor  (near 
right  toe,)  count  4.  Now  change  to  left  from  last  position,  hop 
on  left  and  touch  right  toe  to  left  heel,  etc.,  count  1,  2, 
3,  4.  No  stop  for  change  of  right  to  left.  Do  alternate  8 
times.  Schottische  time. 

3.  TOE,  HEEL,  TOE  AND  PAUSE. — Similar  to  Plain  Toe  and  Heel, 

only  omit  movement  of  count  4,  and  pause  instead,  at  movement 
of  count  3.  Thus  hop  on  right  foot  and  touch  left  toe  on  floor, 
(near  right  heel,)  count  1.  Hop  again  on  right  foot  and  touch 
left  heel  on  floor,  (near  right  toe,)  count  2.  Hop  again  on 
right  foot  and  touch  left  toe  on  floor,  (near  right  heel,)  count 
3.  Pause  in  this  position,  count  4.  Now  change  to  left, 
count  1,  2,  3,  (pause  4.)  No  stop  for  change  of  right  to  left. 
Do  alternate  16  times.  Schottische  time. 

23 


Na2. 

KNEE  SPRING 
WITH 

EM  EXTENSION. 


No.  3. 
BALLOTTA  (KICKS.) 


SQUATTING  EXERCISE. 


LIMB  EXTENSION. 
See  page  2ft 


No.  3. 
CROSS  FEET  AND  KICK. 


IV. 

1.  KNEE  SPRING. — See  explanation  page  20. 

2.  KNEE  SPRING  WITH  ARM  EXTENSION. — Same  as  No.  1,  with 

this  addition — extend  arms  as  in  cut,  bend  back  when  kneeling 
down,  and  pass  arms  through  Arm  Exercise  No.  1,  as  you 
change  from  right  to  left.  Do  alternate  8  times.  Polka  time. 

NOTE.— For  arm  movements,  see  study  of  curved  lines. 

3.  KNEE  SIDE  EXTENSION. — Spring  and  assume  attitude  (per  cut,) 

right  side  extension  ;  spring  and  assume  left  side  extension  ; 
execute  from  right  to  left  continuous.     Count  1,  2,  for  each 
extension.     Do  16  times.     Schdttische  time. 
V. 

1.  HIP  EXERCISE. — See  explanation  page  20. 

2.  FORWARD  BEND  MERCURY  BALANCE  ATTITUDE  AND  OPPOSI- 

TION OF  ARMS. — Assume  Mercury  Balance  attitude,  (cut  No. 
III.  page  10,)  and  bend  slowly  forward,  touching  floor  with 
fingers.  Use  opposition  of  arms  thus,  standing  on  right  foot 
touch  floor  with  left  hand  ;  now  change  attitude  to  left  foot 
and  touch  floor  with  right  hand,  count  1,  2,  3,  4,  5,  6,  7,  8, 
for  each  bend  and  recover.  Do  4  times.  Gavotte  music. 

3.  BALLOTTA   (KICKS.) — Ballotta  means  to  kick   out.      Hop   on 

right  (same  time  cross  left  toe  over  right  foot,)  count  1  ;  hop 
on  right  foot  (same  time  kick  left  foot  out  at  side,)  count  2  ; 
now  change  to  left.  From  last  position,  hop  on  left  foot  (same 
time  cross  right  toe  over  left  foot,  per  cut,)  count  3  ;  hop  on 
left  foot  (at  same  time  kick  right  foot  out  at  side,)  count  4. 
No  stop  for  change  of  right  to  left.  Hands  on  hips.  Do 
alternate  16  times.  Schottische  time. 

VI. 

1.  THIGH  BRACE. — See  explanation  page  20. 

2.  CROSSING  OF  FEET. — Hop  off  both  feet  and  assume  a  crossed 

position  of  the  feet,  (count  1  &) ;  hop  off  both  feet  and  assume 
position  (per  cut,)  (count  2  &).  Now  cross  and  re-cross  feet, 
before,  behind  and  before,  rapidly,  count  1,  2,  3.  Total  2 
bars  of  music.  Hands  on  hips.  Do  8  times.  Polka  time. 

3.  SQUATTING  EXERCISE. — Assume  squatting  or  sitting  position. 

In  this  position  extend  right  foot,  count  1,   2,  3,  (per  cut,) 
draw  it  back  and  extend  left  foot,  count  1,   2,  3.     Hands  on 
hips.     Do  alternate  8  times.     Polka  time. 
VII. 

1.  LIMB  EXTENSION. — See  explanation  page  20. 

2.  SLOWLY  SINKING  AND  RISING. — Slowly  sink  down  (per  cut,) 

then  assume  an  upright  position  until  up  on  toes.  Hands 
on  hips.  Count  1,  2,  3,  4,  5,  6,  7,  8,  to  each  sinking  and 
rising.  Do  16  times.  Gavotte  time. 

3.  CROSS  FEET  AND  KICK.— Cross  right  foot  over  left  (put  weight 

on  right,)  count  1  ;  hop  on  right,  and  kick  left  foot  out  at 
side,  count  2.  Now  as  left  is  in  air,  from  this  position  cross 
left  over  right  foot,  (put  weight  on  left,)  count  3  ;  hop  on  left 
and  kick  right  out  at  side,  count  4.  Hands  on  hips  or  ex- 
tended. Do  continuous  16  times.  Schottische  time. 

25 


SEVEN  LAWS  FOR  THE  PHYSICAL  CORRECTIONS 
OF  THE  BODY. 

(From  Base  to  Waist  Line— Series  I.) 
THE  FOOT.— (THE  TOE.) 

The  toe  must  always  be  pointed  downward  and  outward  with  the 
heel  drawn  up.  In  walking,  the  additional  harmony  of  ankle  must 
be  used.  Thus  in  advancing,  the  toe  strikes  the  floor  first,  and  in 
retiring  the  toe  leaves  the  floor  last.  The  toe  is  the  mental  element 
of  the  foot. 

THE  AXKLE. 

The  pliability  of  the  ankle  must  be  applied  to  the  walking  move- 
ment and  to  all  motions  of  the  foot  individually,  to  give  it  the 
expression  intended. 

THE  HEEL. 

In  any  open  position,  in  any  attitude  or  pose  the  heel  should 
incline  toward  the  standing  foot.  The  toe  pointed  in  opposition 
out  and  downward — this  law  will  apply  to  the  foot  in  any  position. 
The  heel  is  the  mental  element  of  the  hip. 

THE  KNEE. 

The  knee  is  the  seat  of  locomotion  or  movement  of  the  body ; 
viz :  "  sinking  and  rising  "  and  no  progressive  physical  movement 
of  any  description  is  not  embraced  therein.  In  descending  the 
knee  should  always  bend  and  return  to  an  upright  position  with 
the  knee  cap  turned  out.  Buoyancy  is  generated  at  the  knee  and 
upon  it  greatly  depends  the  natural  adjustment  of  the  muscles  in 
the  "  bouyancy  of  the  body."  Strength  and  perfection  of  the 
springing  activity  is  developed  here. 


THE  HIP. 

The  Hip  should  act  as  the  physical  power  of  the  lower  extremi- 
ties, and  that  power  should  be  transmitted  to  the  knee,  thence  to  the 
foot  and  toes  ;  viz :  in  turning  the  foot  outward  in  walking,  and  in 
all  movements  of  force  of  the  body  this  is  demonstrated. 

THE  THIGH. 

The  Thigh  or  lever  from  hips  to  knees,  should  be  the  support  or 
brace  (between)  as  it  were,  to  support  the  Gravity  in  Poise,  Crossed 
Position,  and  Bendings.  To  avoid  shakiness  of  Poise  this  muscle 
must  be -well  controled. 

THE  LEG. 

The  Leg  in  repose  should  be  perfectly  straight,  the  Limb  Ex- 
tension and  other  leg  exercises  given  here  are  combination  studies  of 
Change  of  Gravity  and  Reserve  Power,  and  serve  to  control  muscles 
of  the  limbs  as  an  enity.  They  are  for  the  individual  control  of  each 
limb  and  these  exercises  should  be  followed  with  this  intention. 


27 


CORRECTIVE   EXERCISES  OF  THE 
PHYSICAL  BODY. 

Series  II. 

WAIST   TO   NECK   INCLUSIVE. 


PHYSICAL  CORRECTIONS  OF  THE  BODY. 

(Waist  to  Neck,  inclusive.— Series  II.) 

1.  THE  WAIST. 

The  Waist  is  the  supposed  centre  of  control  of  gravity,  and  the 
muscles  leading  from  it  are  the  largest  and  strongest  at  this  point. 
They  are  used  to  constitute  the  opposition  balance  at  the  seat  of 
gravity.  They  are  as  the  first  spreading  branches  from  the  parent 
stem  of  a  tree,  from  which  the  smaller  branches  shoot  forth. 

2.  THE  TRUNK. 

The  Trunk  is  the  store-house  and  machine  shop  of  some  of  the 
finest  subjective  machinery.  Here  we  find  the  stomach,  to  which  is 
fed  the  fuel  to  generate  and  run  this  machinery.  The  Heart  is  the 
engine  of  life,  the  Kidneys  the  refinery  and  the  Lungs  the  store- 
house, etc.  This  machinery  should  be  controlled  by  the  mind.  The 
Soul  being  the  inner  atmosphere  pervading  all  as  the  air  is  "  life  to 
exist,"  so  is  the  soul  to  every  part  of  the  body.  Without  air  vegeta- 
tion ceases,  and  when  the  soul  leaves,  the  body  ceases  in  a  short  time 
to  even  be  a  body. 

3.    THE  SPINAL  COLUMN. 

The  Spinal  Column  is  the  main  stay  of  the  trunk,  and  its  flexi- 
bility is  only  to  the  extent  of  its  natural  inclination,  and  varies  with 
different  pupils.  It  should  never  bend  beyond  its  natural  scope. 
After  the  natural  bend  of  the  Spinal  Column,  the  neck  muscles  and 
head  at  one  end,  and  the  groins  and  knee  muscles  at  the  other,  should 
be  brought  into  use  to  complete  the  arching. 

4.     THE  ABDOMEN  AND  STOMACH. 

These  parts,  in  regard  to  grace,  are  subjective  to  the  waist  line,  and 
are  known  as  the  physical  elements  of  the  trunk,  (see  anatomy  of 
the  elements  of  man),  and  should  never  protrude  outward  or  inward 
to  an  extreme  degree.  To  rest  these  two  parts  on  one  hip  is  a 
common  habit  of  standing  and  should  be  immediately  corrected. 


5.  THE  CHEST. 

Beauty  of  carriage  of  the  body  grtatly  depends  upon  the  position  of 
the  chest.  It  contains  the  lungs,  which  are  the  mental  element  (see  the 
anatomy  of  the  elements  of  man)  of  the  trunk,  and  should  therefore 
(mental)  be  given  prominence  by  observing  the  law  of  opposition  of 
chest  and  chin,  (see  opposition  laws).  The  chest  can  only  hold  this 
point  of  prominence  when  there  is  a  harmonized  action  of  the 
shoulder  blades. 

BREATHING.     THE  GROINS. 

Proper  breathing  is  important  to  life,  and  the  best  known  method, 
taken  from  the  Italian  school,  is  given  here  only  as  a  corrective  ex- 
ercise of  the  functions  of  the  body.  That  is,  inhale  to  store  the 
air  below  the  stomach  until  the  diaphram  is  extended,  and  exhale 
without  the  heaving  of  the  chest,  using  the  vocal  channel  as  a 
stationary  canal.  In  a  case  of  shortness  of  breath,  stretching  of 
groins  in  harmony  with  the  diaphragm  should  be  used,  as  they  re- 
late to  the  chest  in  breathing. 

6.  THE  BACK. 

The  back  to  be  perfect  should  be  straight.  To  do  this  the  chest 
should  have  its  proper  position,  the  shoulder  blades  should  not 
protrude,  and  the  head  should  be  "aplomb''  on  the  neck  or  spinal 
column.  To  reach  this  state  of  perfection,  use  Elbow  Twist  exercise, 
which  will  flex  the  shoulder  blades,  and  use  such  muscle  exercises  that 
relate  to  flexibility  of  the  shoulder  blades  and  a  proper  carriage  of  the 
head.  When  these  muscles  become  pliable,  use  the  "  Lock"  exercise, 
locking  the  muscles  of  the  back  in  a  smooth  position  until  habit  retains 
them  so. 

7.  THE  NECK. 

The  neck  muscles  require  considerable  attention  for  the  proper 
carriage  of  the  head.  The  head  is  the  seat  of  intelligence,  and  a& 
we  carry  our  head,  in  any  slight  shade  or  change  of  poise  so  will  we 
carry  the  body.  We  should  never  loose  sight  of  this  fact.  The  cords 
or  muscles  under  the  ears  and  in  front,  should  be  strengthened  to  hold 
back  the  head,  to  strengthen  the  vertebra  at  the  back  of  the  neck. 
In  cases  where  one  is  hollow  chested,  the  head  hanging  forward, 
and  has  developed  a  long  neck,  this  may  be  changed  by  assigning 
the  front  muscles  their  duty,  and  giving  the  head  its  proper  adjust- 
ment. 

31 


WAIST  SPANISH  CIRCLE. 
Kneel  down  and  assume  this  -Attitude. 
Circle  arms  around  to  right  (Bngen,  nearly 
on  floor,)  carry  them  over  head  (bending 
back.)  lower  them  to  left  side  and  circle 
to  starting  attitude,  makingone  continuous 
motion.  Circle  to  right  16  bars  and  to 
tie  left  16  bars.  2  or  4  bare  to  each 
circle  Waltz  time. 


TRUNK.  TWIST. 

Stand  finn."^  Hands  on  hips.  Twist 
right  side  of  trunk  to  front  sharp,  count 
1  &.  Now  twist  left  side  to  front,  count  1  &- 
Then  twist  trunk  quickly  3  times  from 
right,  left,  right  side,  count  1,  2,  3.  Re- 
"peat  starting.. left. i  Do  4  times.  .  Polka 
.time,  (slow.) 


SPINAL  COLl'Mtf  NATURAL 
Do  Tbigli  Hi  ace  Turn  and  Bend.  thus. 
Thigh  Brace  Turn  i«  step  to  side  on  left 
foot,  craae  right  -well  over  left,  (weight  on 
both  feet.)  remain  in  this  position,  no* 
turn  body  (on  ball  of  foot)  to  left  until 
face  front  Bend  back  to  left  a»  in  cut 
Slide  left  foot  and  recover,  repeat  sam« 
Thigh  Brace  Turn,  to  right  and  bend  back 
light.  Count  2  bare  to  turn,  and  2  ban 
to  bend  and  recover.  Do  alternate  8 
limes.  "  WalU  lime. 


ABDOMEN  AND  STOMACH  CIRCLE. 
Assume  thin  attitude,  facing  diagonal 
front,  (right  or  left.)  Feet  in  stationary 
position,  execute  a  circle  (by  bending 
knees)  with  abdomen  and  stomach  thus; 
sink  down,  move  same  forward,  rise  to 
starting  attitude.  Do  with  right  foot  ex- 
tended  8  times,  and  left  foot  extended  8 
times.  2  or  4  bare  for  each  circle.  Waltz 
time. 


CHEST  AND  SHOl'LDER  BLADES. 
Fbr  Chest  Expansion  and  pliability  of 
Shoulder  Blades.  Clap  hands  in  front 
(per  cut,)  then  behind.  Walking  move- 
ment (marking  time  stationary,)  one  step 
to  each  bar  of  music.  Clap  hands  with 
each  step  on  first  btot  in  bar.  Do  32 
times.  Waltz  or  March  time. 


THE  -LOCK"  FOR  BACK. 
Lock  hands  in  back  thus,  palms  together, 
asftuuie  upright  position.  If  carriage  of 
chest  head  and  back  arc  not  perfect,  pull 
lock  up  higher.  In  this  locked  position 
do  Ankle  Twisu  (Series  1.)  thus  rise  on 
right  toe,  heel  well  out  front,  step  down 
on  right  foot  and  immediately  raise  left 
toe.  Do  continuous  alternate  32  times. 
March  time.  Observe  perfect  carriage  of 
lK)dy. 


NECK  EXERCISE. 
Point  right  foot  at  side.  Hands  on 
hips.  Rise  on  toes  (spring  motion)  and 
by  stretching  neck  muscles,  and  look  over 
your  back,  so  you  can  see  heel  of  left  foot, 
(as  per  cut.)  Draw  the  right  elbow  and 
back  in.  Recover  and  repeat  to  left  side. 
Count  2  bare  polka  to  each  side,  when 
proficient  1  bar.  Do  16  times.  Polk* 


SEVEN  CORRECTIVE  EXERCISES  OF  THE 
PHYSICAL  BODY. 

(From  Waist  to  Neck  inclusive.    Series  II.) 
TITLES.  CORRECT.  RELATION.  HARMONY. 


WAIST 
SPANISH 
CIRCLE. 

Control  of  Cen- 
tre. Freedom 
of  Extremities. 

Seat   of    the 
strong  muscles 
of  physical 
power. 

Strength  of 
muscles  in  rela- 
tion to  opposi- 
tion and  Con- 
trol of  Gravity. 

II. 

TRUNK 
TWIST. 

Ease  of  Car- 
riage of  Body. 

Groin  muscles. 
Gravity  of  ben- 
ding  beyond 
base  line. 

Reserve  power 
subjective  con- 
trol of  move- 
ment from  the 
mind. 

III. 

SPINAL 
COLUMN 
NATURAL. 

Cultivate  its 
Natural  Bend. 

Control  of  the 
trunk  and  erect 
carriage. 

Natural  expan- 
sion of  this  in- 
strument and 
all  muscles  of 
the  back. 

IV. 

ABDOMEN 

AND 

STOMACH 
CIRCLE. 

Its  complete 
subjective  con- 
trol in  all  mo- 
tions of  the 
body. 

Seat  of  our  phy- 
sical life  or  ani- 
mal nature. 

Source  of  sup- 
ply of  vital 
power  to  the 
physical  ele- 
ments, thence 
to  spiritual. 

V. 

THE  CHEST 

AND 

SHOULDER 
BLADES. 

Enlarge  the 
lungs  and  cor- 
rect carriage  of 
trunk. 

As  the  brain  to 
the  head,  so  are 
the  lungs  to  the 
trunk. 

Ease  of  erect 
carriage.  Chin, 
chest  and  shoul- 
der blades. 

VI. 

THE  LOCK 
FOR  BACK. 

To  straighten 
the  back. 

Shoul  ders, 
chest  and  head. 

Shoulder  blades, 
spinal  column. 
Chest  expan- 
sion and  proper 
carriage  of 
body. 

VII. 

THE  NECK 
EXERCISE. 

Proper  carriage 
of  head  by 
strengthening 
neck  muscles. 

Muscles  of  head 
to  carriage  and 
motion  of  head. 

As  a  swivel  or 
ball-bearing 
joint  for  head. 

33 


WAIST 

PAXISH  CIKCI.E. 
Seepage  32. 


FORWARD  BEND 

TRACE  j  CIBCLE 

WITH  FINGERS  ON  FLOOR. 


No.  2. 

SPANISH  CIRCLE 
STANDING. 


TRUNK  TWIST. 
See  page  32. 


N<x2. 
THE  PA  BI  BASQTJB 


NO.  3. 

THB  S1DK  BEND 
LN  PAIRS. 


Ko.2. 
SPINAL  NATURAL 

WITH  ARM 
EXERCISE  No.  3. 


CORRECTIVE  EXERCISES  FOR  THE  PHYSICAL  BODY. 

(From  Waist  to  Neck  inclusive.— Series  IT.) 
DERIVATIONS. 


1.  WAIST  SPANISH  CIRCLE.— See  explanation  page  32. 

2.  SPANISH  CIRCLE  STANDING. — Stand  firm  with  right  foot  ex- 

tended and  do  same  waist  circle  with  arms  and  waist  as  No.  1. 
Do  16  times  to  right.  Extend  left  foot  and  do  16  times  to 
left.  Waltz  time. 

3.  FORWARD  BEND,  TRACE  J  CIRCLE  WITH  FINGERS  ON  FLOOR. 

— Start  with  hands  over  head,  now  bend  forward  (do  not  bend 
knee)  and  touch  the  floor  with  fingers  of  both  hands,  trace  J 
circle  to  right  in  this  position  and  around  to  left,  assume 
upright  position.  Repeat  4  times.  Gavotte  music,  32  bars. 

NOTE  FOR  No.  1.— Additional  exercise  is  to  kneel  and  swing  hands  forward,  and  then 
bending  backward,  swing  hands  over  head. 

II. 

1.  TRUNK  TWIST. — See  explanation  page  32. 

2.  THE  PA  DE  BASQUE. — Step  to  right  with  right  foot,  cross  left  in 

front  and  balance,  count  1  for  right  foot,  2  for  left  foot,  3  for 
balance,  (at  balance  release  left  foot.)  Repeat  to  left.  Twist 
right  side  of  trunk  well  around  when  starting  with  right  foot, 
and  twist  left  side  of  trunk  to  left  when  starting  with  left 
foot.  Hands  on  hips.  Do  alternate  16  times.  Mazurka  time. 

3.  THE  SIDE  BEND  IN  PAIRS. — Assume  attitude  as  per  cut  in  pairs. 

Sway  from  right  to  left.  Balance  on  right  foot  when  you 
sway  to  right,  and  balance  on  left  foot  when  you  sway  to 
left.  Bend  trunk  well  to  each  side.  Count  2"  bars  waltz 
time  to  each  bend.  Do  16  times. 

III. 

1.  SPINAL  COLUMN  NATURAL. — See  explanation  page  32. 

2.  SPINAL  NATURAL  WITH  ARM  EXERCISE  No.  3. — Same  as  No. 

1,  with  this  addition,  cross  elbow  when  executing  Pirouette, 
and  Arm  Exercise  No.  3  for  the  bend,  as  per  cut.  Count  1,  2, 
3,  4,  5,  6,  to  each  Pirouette,  and  the  same  for  bending.  Do 
alternate  8  times.  Waltz  time. 

NOTE.— For  Arm  Exercise  No.  3,  see  Study  of  Curved  Lines. 

3.  DRAW  BACK  BENDS. — Step  right  foot  behind,  count  1  and  as- 

sume side  view,  (Neck  Exercise)  as  per  cut,  count  2.  Stretch 
neck  over  so  that  you  can  see  right  heel,  right  arm  over  head. 
Hold  this  attitude,  count  3,  4.  Now  place  left  foot  behind, 
left  arm  over  head,  and  repeat  iu  opposition,  count  1,  2,  and 
hold  3,  4.  Do  8  times.  Schottische  time. 

35 


ABDOMEN  AND 

STOMACH  CIRCLE 

See.page  32. 


No.  2.  / 

THE  ROWING  CIRCLE.  <& 


THE  CHEST  AND 

SHOULDER  BLADES 

See  page  32. 


THE  LOCK 
FOR  BACK 
See  page  32. 


NECK  EXERCISE. 
See  page  32. 


No.  3. 

NECK  EXERCISE  WITH 

PIROUETTE  AND 

COURTESY. 


IV. 

1.  ABDOMEN  AND  STOMACH  CIRCLE. — See  explanation  page  32. 

2.  ROWING  CIRCLE. — Do  No.  1  with  this  addition,  use  hands  as  in 

rowing.  The  hands  closed,  starting  at  waist,  move*  them 
downward,  next  outward,  then  up  to  waist.  Do  4  times  right 
and  left.  Repeat  4  times.  2  or  4  bars  to  each  row.  Waltz 
time. 

3.  PULLING  THE  ROPE. — Do  No.  1,  with  this  addition,  use  hands  as 

in  pulling  a  rope.  The  hands  closed  resting  at  waist,  (body 
sinking,)  now  reach  up,  make  a  circle  of  hands  (as  per  trace  line) 
open  hands,  then  close  and  pull  downward  diagonally  to  left 
side  of  waist,  (if  right  foot  is  extended.)  Repeat  4  times, 
now  change  foot  and  pull  to  right  side  of  waist  4  times. 
2  bars  to  reach  up,  1  bar  down  and  1  to  recover.  Waltz  time. 

V. 

1.  THE  CHEST  AND  SHOULDER  BLADES. — See  explanation  page  32. 

2.  BREATHING  EXERCISE. — Inhale  as  you  slowly  raise  arms,  and 

hold.  Now  slowly  exhale  as  the  arms  return  to  place,  make 
a  sucking  and  blowing  sound  as  you  inhale  and  exhale.  Re- 
peat 4  times.  Gavotte  music.  See  paragraph  5,  page  31, 
this  division. 

3.  THE  GROINS  FOR  BREATHING. — Lie  flat  upon  the  floor,  hands 

at  side,  rise  to  a  sitting  posture  without  assistance  of  the 
arms  or  hands,  and  return  to  horizontal  position.  Gavotte 
music,  4  counts  to  rise  and  4  counts  to  return.  Do  8  times. 
ADDITIONAL. — From  sitting  posture,  cross  the  feet  and  rise  to  a 
standing  position,  without  assistance  of  the  arms  or  hands, 
and  return. 

VI. 

1.  THE  "  LOCK  "  FOR  BACK. — See  explanation  page  32. 

2.  THE  LOCK  WITH  KNEE  SPRING. — Lock  hands  at  back  and  do 

Knee  Spring  (IV.  page  20,)  which  is,  spring  and  kneel  as  in 
cut,  to  right.  Front  view,  kneeling  sideways.  Bend  back- 
ward when  kneeling.  Repeat  to  left.  Do  alternate  4  to  8 
times.  Count  2  bars  polka  music  to  each  kneel. 

3.  THE  LOCK  WITH  NECK  EXERCISE. — Lock  hands  at  back  and 

do  Neck  Exercise  (which  follows,  and  is  No.  1,  of  VII.) 

VII. 

1.  NECK  EXERCISE. — See  explanation  page  32. 

2.  NECK    CIRCLE. — Head  upright  and  do  not  disturb   shoulder 

muscles,  now  circle  the  neck  as  per  trace  line.  The  head 
should  move  forward  and  go  around  the  circle.  Relaxation 
should  be  perfect.  Repeat  to  left.  Do  4  times.  Gavotte 
music. 

3.  NECK  EXERCISE  WITH  PIROUTTE  AND  COURTESY. — No.  1  Neck 

Exercise  to  right  and  left,  count  1,  2,  3,— 1,   2,   3.     Then 
Pirouette  right,  count  1,  2,  3.     Then  assume  attitude  as  per 
cut,  (sink  down  and  up,)  count  1,  2,  3.    In  cut,  one  hand  is  at 
chin  and  the  other  at  elbow.     The  head  leans  sharply  to  right 
or  left.     Repeat  8  times.     Polka  time. 
37 


SEVEN  LAWS  FOR  THE  PHYSICAL  CORRECTIONS 
OF  THE  BODY. 

(Waist  to  Neck  inclusive.— Series  II.) 

THE  WAIST. 

Kemember  that  the  "  Control  of  the  centre  (waist)  and  freedom  of 
the  extremities  "  will  cultivate  Reserve  Power,  or  storage  battery,  as 
it  were,  from  which  to  draw  when  the  natural  supply  is  overtaxed, 
and  you  should  be  chary  of  drawing  on  this  storage  battery. 

THE  TRUNK. 

The  first  thought  of  the  mind  in  formulating  a  poise  should  be 
Gravity  and  protection  of  the  Trunk.  The  muscles  under  the  arms 
should  be  developed,  as  by  their  strength  the  shoulders  are  strength- 
ened to  give  the  arm  the  power  to  protect  the  Trunk  or  body.  The 
Trunk  should  be  protected  because  therein  is  the  engine  of  life,  the 
heart.  The  arms  are  its  natural  protectors  from  injury. 

THE  SPINAL  COLUMN. 

The  Spinal  Column  should  never  be  taxed  beyond  its  natural 
scope  on  account  of  its  peculiar  construction.  It  is  the  only  com- 
bination of  muscle  and  bone,  and  the  many  bones  can  easily  be 
strained  by  counter  wedging  themselves,  whereupon  something  must 
give  way. 

THE  ABDOMEN  AND  STOMACH. 

The  exercises  given  are  for  curved  outline  and  subjective  control. 
Delsarte  says :  "  Elevate  the  spiritual  and  subdue  the  physical." 
This  does  not  imply  to  kill  the  physical,  not  even  to  mortify  the  flesh 
as  would  the  fanatical  Brahman,  but  the  spiritual  should  dominate  the 
physical.  The  spiritual  element  can  hardly  manifest  much  force 
through  an  emaciated  or  weak  physique. 

38 


THE  CHEST. 

The  Carriage  of  the  Chest  is  the  most  important  (next  to  the  head) 
for  beauty  and  perfection  of  the  carriage  of  the  body.  The  Chest 
assumes  its  proper  position  first,  the  head  finishing  the  gravity  of  the 
body.  Observe  the  Law  of  Opposition  of  chest  and  chin,  that  is, 
"  chest  out  and  chin  drawn  in ; "  the  next  is  the  harmony  of  the 
shoulder  blades,  thrown  back  or  balanced.  The  three  harmonies  that 
constitute  the  correct  carriage  of  the  Chest,  and  should  be  followed, 
are  the  chest,  the  chin  and  the  shoulder  blades. 

THE  BACK. 

The  Back  should  be  perfectly  straight  and  smooth,  that  is,  the 
shoulder  blades  be  almost  able  to  meet  and  should  be  strengthened  to 
give  the  Spinal  Column  strength.  This  is  accomplished  by  using  the 
"  Lock "  Exercise  whenever  opportunity  offers.  This  exercise 
strengthens  the  back  bone,  upon  which  depends  the  chest  for  its  sup- 
port. Without  a  strong  back  bone,  round  shoulders  are  sure  to  de- 
velope,  and  should  be  avoided. 

THE  NECK. 

The  Neck  muscles  under  the  ear  should  be  strengthened  by  using 
the  "  Neck  Exercise."  The  vertebra  at  the  back  of  neck,  bears  the 
same  relation  to  the  head,  as  the  spinal  column  does  to  the  trunk. 
The  vertebra  is  assisted  (in  holding  the  head  in  its  proper  poise) 
by  developing  such  muscles  as  will  hold  the  head  back  in  its 
place,  namely  :  the  head  should  be  aplomb  on  the  point  of  the  Spinal 
Column.  The  Neck  is  a  connecting  hinge,  as  the  wrist  to  the  hand 
and  the  ankle  to  the  foot.  Flexibility  at  these  joints  should  be  perfect. 


CORRECTIVE   EXERCISES  OF  THE 
PHYSICAL  BODY. 

Series   III. 

ARMS,  SHOULDERS,  ELBOWS,  WRISTS,  HANDS, 
FINGERS  AND  HEAD. 


PHYSICAL  CORRECTIONS  OF  THE  BODY. 

(Arms,  Shoulders,  Elbows,  Wrists,  Hands,  Fingers,  and  Head.-Series  III.) 


1.    ARMS. 

The  Arm  complete  is  the  best  separate  medium  of  bodily  expression. 
The  harmony  of  curved  lines,  spiral  motion  and  the  line  of  beauty 
(wave  line)  can  all  be  expressed  through  the  arm.  Care  should  be 
taken  to  have  a  perfect  harmony  of  shoulder,  elbow  and  wrist  muscles 
in  all  arm  movements. 

2.    THE  SHOULDER. 

The  Shoulder  (proper,)  relating  to  the  arm,  is  the  seat  of  the 
physical  power  of  the  arm  (see  Anatomy  of  Elements  of  Man.) 
From  here  should  generate  the  power  of  motion  of  the  arm.  As  the 
hips  serve  to  the  lower  extremities,  so  do  the  shoulders  relate  to 
the  arm  in  turning  of  hand  outward  and  all  movements  of  the  arm. 

3.  THE  ELBOW. 

Upon  the  proper  training  of  the  elbows  depend  the  beauty  and 
grace  of  the  arm.  It  contains  the  seat  of  the  emotional  element  of 
the  arm  (see  Anatomy  of  Elements  of  Man.)  So  finely  may  the  har- 
mony be  established  between  the  proper  bending  or  blending  of  wrist 
and  finger  tips  and  shoulders,  that  the  curves  of  the  arm  will  have 
no  angle  whatever  at  the  elbow,  which  is  ordinarily  an  angle. 

4.  THE  WRIST. 

The  Wrist  should  receive  corrective  exercise  before  that  of  the 
hand.  It  is  the  machine  to  which  is  attached  the  element  known  as 
the  intelligence  or  mentality  of  the  arm,  namely,  the  hand.  Its  im- 
portance is  similar  to  the  neck  in  relation  to  the  head,  or  ankle  to  the 
foot.  The  exercising  should  be  carefully  finished,  as  any  friction 
here  would  mar  the  expression  intended  by  the  hand  in  its  great 
range  of  movements. 


5.     THE  HAND. 

The  expressive  and  psychic  resources  of  the  hand  were  well  known 
among  the  ancient  astrologers.  This  mental  instrument  of  the  arm, 
to  the  expert  palmist  "  talks."  It  is  substituted  for  the  power  of 
speech  and  is  used  by  mutes.  The  student  trying  the  following  will 
easily  prove  this  statement,  viz  :  express  with  the  hand  "  smooth- 
ness/' "to  scratch/'  "surprise,"  "  pity,"  "  fear,"  "determination." 
The  hand  almost  seems  to  speak  these  expressions.  It  is  not  only 
the  mental  element  of  the  arm,  but  the  outlet  (connecting  with  outer 
forces)  of  personal  power  of  expression  of  the  soul,  from  the  fountain 
head  of  mentality,  namely  the  brain.  Therefore,  the  hand  should  be 
full  of  intelligent  expressions. 

6.     THE  FINGEKS. 

The  fingers  are  the  eyes  of  the  hand.  Their  sensitiveness  to  the 
slightest  touch  or  change  of  feeling  can  be,  or  should  be  expressed  by 
their  action.  You  will  find  each  finger  seems  to  have  an  individuality 
of  its  own.  It  is  thus  expressed  in  the  "  Beauty  Position  "  of  the 
hand.  The  fingers  by  their  fineness  of  curve,  always  finish  the  move- 
ment, or  curve  of  the  arm.  No  curve  of  the  arm  is  complete  with- 
out this  addition  of  the  fingers. 

7.    THE  HEAD. 

If  the  student  has  followed  with  any  degree  of  intelligence  to  this 
point,  he  will  understand  that  here,  of  all  parts  of  the  body,  the  head 
is  the  grandest  of  all  instruments.  The  head  of  the  body.  Here  is 
the  seat  of  the  mind  which  is  the  mental  control  of  all  other  mental 
elements  in  the  different  parts  of  the  body,  and  they  are  subject  to 
this  master  instrument.  The  head  also  contains  the  eyes,  which  are 
truly  the  windows  of  the  soul,  the  study  of  which  will  be  found 
later,  and  the  mouth,  which  instrument  is  so  necessary  to  our  inner 
machinery ;  then  the  nose,  and  in  fact  here  is  located  all  the  agents  of 
our  principal  machinery.  What  is  manufactured  at  their  respective 
factories  within,  so  the  product  will  be  shown  by  these  agents.  This 
part  of  the  study  is  on  the  physical  plane  and  relates  to  our  physical 
being.  As  the  head  is  carried  so  will  we  carry  the  entire  body.  The 
head  is  the  heaviest  separate  instrument  of  the  body.  In  all  our 
work,  its  carriage  should  never  be  neglected.  It  cannot  help  but  ex- 
press something  in  any  position.  It  is  the  god-head  of  our  entire 
body.  To  impress  its  importance  on  the  student  is  the  main  object 
of  these  remarks. 

43 


,„  •''        ARM  CIRCLE. 

Execute  a  circle  with  right  arm,  then 
lett  arm,  then  both  arms. 
Waltz  time. 


:imes  each. 


SHOULDER  TWIST. 

Arms  extended  and  bands  in  a  fist 

Twist  arm  twice  sharp  backward.     Count 

1.  &— 2.  &,  then  quickly  3  times  count  1. 

2.  3.    Do  8  times.     Polka  time. 


ELBOW  TWIST. 

Assume  this  attitude,  throw  the  elbow* 
Sharp  backward  and  easy  forward.  Regu- 
lar rytbm  Iti  times.  March  time. 


;THE  WRIST. 
Take  positions  of  wrists  thus  and  trace 
l,e   figure  8,  using  wrist  to  finger  tip. 
Hold  balance  of  arm  nearly  rigid  16  time*. 


THE  HAND.— (Beauty  Position.) 
Assume  this  posilion  (see  law)  and  re- 


tain  position  while  i 
ment  of  entire  arm. 


lecutmg  a  wave  move- 
32  bars  waltz  music. 


FINGERS.— (Separate  Control.) 
Fingers  all  closed,  (hand  open.)  Sepa- 
rate the  first  finger  from  each  hand,  next 
divide  the  fingers,  next  the  little  finger  is 
alone,  now  reverse.  NOTE. — Do  with  both 
bands.  Repeat  4  times.  ScUottiscbe  time 


44 


HEAD.— (Side  to  Side.) 

Take  this    position   and    throw    he 

iharply  to  right,  then  to  left,  count  1  & 

&.      Then   quickly  to  right,  left,' rig] 

count  1,  2.  3.     Do  4  times.     Polka  tin 


SEVEN  CORRECTIVE  EXERCISES  OF  THE 
PHYSICAL  BODY. 

(Arms,  Shoulders,  Elbows,  Wrists,  Hands,  Fingers,  Head.— Series  III.) 

TITLES.  CORRECT.  RELATION.  HARMONY. 

ARM  CIRCLE.         For  Ease  of  Mo-        To      Shoulder        Established  for 

tion.    Strength         Blades  and  the        the  Expression 

of  Shoulders.  Back.    Protec-        of    the     Mind 

tion  of  Trunk.        and    Magnetic 

Channel. 


1 1 .       SHOULDER 
TWIST. 


Turning  out  of 
Arm. 


To  Wrist.  Base 
for  Head.  Mus- 
cles under  Arm. 


Shoulder 
Blades,  and 
Wrist.  Muscles 
under  Arm  and 
Ebolw. 


HI.      ELBOW 
TWIST. 


Angle  at 
Elbow. 


Shoulders  and 
Wrist  must  be 
assisted  by  El- 
bow. 


Emotion  of 
Arm,  Harmony 
of  Fingers  and 
Shoulder 
Blades. 


IV.      THE  WRIST. 


Flexibility. 


Shoulder  Mus- 
cles and  use  of 
Hand. 


Shoulder  to  El- 
bow, to  Wrist 
always. 


V. 


THE  HAND 

BEAUTY 

POSITION. 


Flexibility. 
Intelligence. 


Expression    of 
Arm  and  Mind. 


Physical 
Expression. 


VI.   THE 

FINGERS 

SEPARATE 

CONTROL. 


Individuality 
of  Fingers. 


Beauty  and  In- 
telligence and 
outlet  of  Power. 


As  Eyes  to  the 
Mind.  Mental 
seatofthehand. 
The  finish  of 
the  curves  of 
arm. 


VII.     HEAD. 


Ease  of  Poise. 


Vertebra 
Chest. 


and 


The    Fountain 
of  Expression. 


45 


NO.  a 

OVERHEAD 
SWAY  OF  ARMS. 


No.  2. 

ELBOW  TWIST 
WITH  ANKLE 


No.  3. 

ELBOW  TWIST 

WITH  BOUYANCY 

EXERCISE. 


CORRECTIVE  EXERCISES  FOR  THE  PHYSICAL  BODY. 

(Shoulders,  Arms,  Elbows,  Wrists,  Hands,  Fingers  and  Head.— Series  III.) 
DERIVATIONS. 

I. 

1.  AEM  CIRCLE. — See  explanation  page  44. 

2.  FIGURE  EIGHT  WITH  ARMS. — Execute  the  figure  eight,  hori- 

zontal, per  trace  line  using  entire  arm.  Do  same  perpendicu- 
lar. Do  both  8  times.  Waltz  time. 

3.  OVERHEAD  SWAY  OF  ARMS. — Place  arms  overhead  and  sway 

from  right  to  left  side,  bending  waist.  Observe  beauty  posi- 
tion of  hand.  Do  16  times.  Kepeat  same  and  walk  forward 
and  backward.  2  bars  of  music  for  each  sway.  Waltz  time. 

II. 

1.  SHOULDER  TWIST. — See  explanation  page  44. 

2.  THE  THRUST. — Take  attitude  as  per  cut,  do  arm  circle  per  trace 

line  and  thrust.  At  thrust  of  right  arm  stamp  right  foot. 
The  thrust  should  be  an  out  twist  of  the  entire  arm,  the 
other  arm  is  up.  Repeat  left  arm  and  left  foot.  Do  16 
times  each  side.  Count  1,  2,  3,  for  each  thrust.  Polka  time. 

3.  THE  ONSLAUGHT. — Same  attitude  and  movement  as  the  thrust, 

only  let  arm  execute  a  complete  circle  and  stop  suddenly  in 
attitude  as  per  cut,  stamp  with  foot.  The  same  music,  etc. 
Hand  clinched. 

III. 

1.  ELBOW  TWIST. — See  explanation  page  44. 

2.  ELBOW  TWIST  WITH  ANKLE  EXERCISE. — Do  Elbow  Twist,  at 

same  time  doing  Ankle  Exercise.  Ankle  Exercise  is  No.  2, 
Series  I.  page  20.  Do  32  times.  March  time. 

3.  ELBOW  TWIST  WITH  BUOYANCY  EXERCISE.— Do  Elbow  Twist 

at  same  time  doing  Buoyancy  Exercise.  Buoyancy  Exercise 
is  No.  5,  Gravity,  page  10.  Do  32  times.  March  time. 


47 


THE  HAND 

BEAUTY  POSITION. 

See  page  44. 


No.  2. 

THE  HAND 
THE  DISCHARGE 


No.  3. 

THE  WRIST 
REVERSE  MOTION. 


No.  3. 

THE  SPIRAL  OF 

THE  HAND. 


FINGERS, 

SEPARATE   CONTROL- 
See  page  44. 


No.  2. 

THE  FLEXING  OF 
THE  F1NGEHS. 


No.  8, 

SINGLE  CONTROL 
O?  EACH  FDJGER 


No.  5. 

HEAD, 

CIRCLE 

MOVEMENT. 


IV. 

1.  THE  WRIST. — See  explanation  page  44. 

2.  THE  WRIST,  TURNING  OUT.— Assume  hand  and  wrist  position 

per  cut,  and  turn  them  sharply  out  (opening  hand)  do  twice, 
count  1  &  2  &,  then  quickly  3  times,  count  1,  2,  3.  The 
force  of  the  hand  is  generated  at  wrist.  Do  16  times.  Polka  time. 

3.  THE  WRIST — REVERSE  MOTION.— Place  back  of  hands  together 

as  per  cut,  now  move  fingers  out  and  toward  you,  then  have 
all  fingers  point  downward  (always  keep  back  of  hands 
together.)  Now  have  original  top  hand  move  outward  and 
other  hand  inward,  until  the  hand  originally  on  the  bottom  is 
on  top,  as  per  cut.  Repeat  from  this  position.  Do  continu- 
ous 16  times.  For  each  complete  motion,  count  1,  2,  3.  Polka 
time. 

V. 

1.  THE  HAND  BEAUTY  POSITION. — See  explanation  page  44. 

2.  THE  HAND  DISCHARGE. — Close  hands  in  a  fist  and  open  them 

suddenly  with  force,  see  cut,  do  2  times,  count  1  &  2  &,  then 
3  times  quickly,  count  1,  2,  3.  The  force  should  be  generated 
from  the  shoulders  to  wrist.  Do  16  times.  Polka  time. 

3.  THE  SPIRAL  OF  THE  HAND. — Assume  drooping  position,  per  cut. 

Execute  a  spiral  movement  of  hand,  the  index  finger  leading 
and  the  force  starting  from  the  wrist.  The  hand  in  this  spiral 
movement  upward  takes  the  action  of  putting  on  a  glove. 
(Base  of  thumb  being  drawn  to  base  of  small  finger.)  Observe 
Beauty  Position.  Recommence  by  relaxing  to  starting  point. 
Balance  of  arm  partly  rigid.  32  bars  waltz  rhythm. 

VI. 

1 .  THE  FINGERS — SEPARATE  CONTROL. — See  explanation  page  44. 

2.  THE  FLEXING  OF  FINGERS. — Hold  hands  up  and  crook  each 

finger  and  thumb  repeatedly,  by  itself,  (flexing  it.)  Do  same 
finger  of  each  hand  at  same  time,  then  flex  all  fingers  at  once. 
Dramatic  Tremulo  music. 

3.  THE  SINGLE  CONTROL  OF  FINGERS. — Close  hands  and  simply 

extend  one  finger  at  a  time  and  draw  it  back,  (flexing  it,) 
extend  same  finger  of  each  hand  at  same  time.  Do  4  times. 
Schottische  time. 

VII. 

1.  HEAD,  SIDE  TO  SIDE. — See  explanation  page  44. 

2.  HEAD  AND  VERTEBRA  EXERCISE. — Spring  to  right  and  assume 

attitude,  per  cut.  The  head  thrown  sharply  back,  looking  up. 
Move  arms  from  1st  to  2d  arm  position  to  attitude.  Repeat 
to  left.  Count  2  bars  to  each  side,  when  proficient  1  bar.  Do 
alternate  8  times.  Polka  time. 

3.  HEAD  CIRCLE. — Drop  the  head  in  front,  circle  to  right  per  trace 

line.  At  back  it  should  hang  as  far  as  it  did  in  front  in  ex- 
ecuting the  circle.  Repeat  to  left.  Note. — Eyes  should  not 
move,  and  shoulders  and  trunk  should  be  rigid.  Do  this»  4 
times  each  way.  No  music. 

49  4 


SEVEN  LAWS  FOR  THE  PHYSICAL  CORRECTIONS 
OF  THE  BODY. 

(Arms,  Shoulders,  Wrists,  Hands,  Fingers,  Head.— Series  III.) 

THE  ARMS. 

The  Arms  should  have  freedom  of  motion.  They  should  never 
rest  against  the  trunk ;  or  rather  all  arm  motions  should  be  from  the 
shoulders,  which  require  the  strengthening  of  the  Torso  or  muscles 
under  the  arm. 

THE  SHOULDERS. 

The  Shoulders  should  always  be  let  down  and  "  set "  until  a  feel- 
ing of  comfort  or  adjustment  is  felt  throughout  the  body  in  any  poise. 

THE  ELBOWS. 

A  perfect  harmony  must  be  cultivated  with  wrist,  fingers  and 
shoulders,  and  not  until  then  will  the  angle  of  the  elbow  be  lost. 

THE  WRIST. 

The  Wrist  should  be  flexed  before  the  hand,  and  must  be  applied 
to  all  individual  motions  of  the  hand  to  allow  it  the  expression  in- 
tended. The  Wrist  should  lead  the  movements  of  the  hand,  not  for- 
getting the  harmony  of  the  other  parts  of  the  arm. 

THE  HAND. 

The  Hand  should  always  give  the  intention  and  expression  of  the 
movement.  It  is  the  mind  of  the  arm.  The  latitude  or  range  of 
the  hand  is  only  second  to  the  mind,  in  expressing  physical  motion. 


50 


THE  FINGEKS. 

The  fingers  express  the  fineness  or  "  the  art  of"  the  expression  of 
the  hand,  as  the  eyes  do  of  the  mind.  Finish  the  curves  of  the 
arm  with  the  fingers.  Personal  magnetism  from  the  body  to  the  mind 
is  mostly  distributed  through  the  finger  tips.  The  thumb  should 
never  be  drawn  into  the  palm  of  the  hand,  as  that  denotes  weakness ; 
rather  curve  the  thumb,  creating  a  harmony  of  both  joints.  In  exe- 
cuting the  curves  of  the  arm,  the  fingers  trace  the  outer  line  of  the 
circle,  and  at  the  horizontal  line  only  do  they  straighten  out. 

THE  HEAD. 

The  Head  is  the  law-maker  of  our  body.  No  known  law  governs  its 
action.  It  contains  the  essence  of  all  our  elements  and  all  our 
machinery.  The  ideas  formulated  there,  register  their  expression  by 
the  poise  of  the  Head.  It  is  the  fountain  or  source  of  all  intention, 
here  they  are  received  and  sent  out.  Aside  from  its  intellectual  and 
life  elements  the  Head  should  set  well  back  The  chin  drawn  in 
(or  chin  in  opposition  to  chest ;  law  is  chin  in,  chest  out.)  As 
the  head  is  carried  so  will  you  carry  your  whole  body,  and  ex- 
press all  movements  of  the  body.  The  Head  is  the  register  of  that 
within,  and  therefore  the  mind  must  govern  all.  The  Head  is  ex- 
pressive in  any  position. 


51 


THE  ANATOMY   OF  THE   ELEMENTS 
OF    MAN. 

THE   TRINITY. 


THE  ANATOMY  OF  THE  ELEMENTS  OF  MAN. 

One  of  the  basic  principles  of  the  Christian  religion  is  the  Trinity 
of  the  Creator. 

GOD 
THE  FATHER,  SON  AND  HOLY  GHOST. 

THE  TRINITY 
Consists  of  Three  Forces 

LOVE,  WISDOM,  POWER, 

Which  is  The  Grace  of  God. 


COUNTERPART. 

MAN 

THE  SOUL,  THE  MIND,  THE  BODY. 

The  Grace  of  Man 
Consists  of  Three  Elements 

EMOTIONAL.  MENTAL.  PHYSICAL. 

(or  Moral.)  (or  Reason.)  (or  Vital.) 


THE  UNIVERSE. 
AIR,  WATER,  EARTH. 


GOD,  MAN  AND  THE  UNIVERSE, 
THREE  IN  ONE 
GOD  IN  ALL. 


54 


THE  SOUL,  THE  PHYSICAL  BODY  AND  GRACE. 

THE  TRINITY  OF  THE  SOUL, 

is 

The  INTELLIGENCE  force. 
The  LIFE  FORCE  within  us. 
The  SPIRITUAL  power. 

This  Trinity  in  One  is  the  Soul— 


DUALITY. 

INTELLIGENCE  is  WISDOM.  "j 

LIFE  FORCE  is  POWER.         L  See  Trinity  of  God. 

SPIRITUAL  FORCE  is  LOVE.  J 

Thus  do  we  resemble  the  Great  Creator  only  on  a  lesser  scale. 


THE  PHYSICAL  BODY, 

embraces 

GRAVITY,  which  relates  to  the  Mental. 
FLEXIBILITY,  which  relates  to  the  Emotional. 
FORCE,  which  relates  to  the  Physical. 


GRACE. 

is 

THE  EXPRESSION  OF  THE  SOUL, 
THROUGH  THE  MIND, 
BY  MOTION  OF  THE  BODY. 


TRINITY. 

Notwithstanding  our  advanced  civilization  we  are  constantly  con- 
fronted with  the  old  philosophic  question  as  to  "  that  invariable 
existence  of  which  these  are  variable  states?"  Concerning  this 
there  have  been  sundry  hypotheses.  Mine  being  primarily  that 
everything,  material  and  otherwise,  is  based  upon  the  Trinity.  I 
find  a  trinity  in  man  and  in  the  most  minute  details,  into  which  he 
may  be  sub-divided  ;  the  same  holds  true  in  nature. 

The  Trinity  is  the  rock  on  which  this  work  is  built,  and  the 
analogy  to  all  the  laws,  works  and  movements  herein  are  clearly 
shown. 

Man  consists  of  the  Soul,  the  Mind  and  the  Body. 

REFLECTION. 

The  Mind  is  of  the  Father,  The  Body  is  of  the  Son, 
The  Soul  is  of  the  Holy  Ghost. 


THE  SOUL. 

The  mention  of  Duality,  (page  55),  is  to  show  its  reflection  and 
"part  of"  the  all  prevailing 

"  GOD.  " 

As  a  sunbeam  from  the  heavens  above  coming  millions  of  miles  to 
earth  is  heat  or  "  power  "  so  is  the  Reflection  of  the  Grace  of  God 
to  Man. 

"  POWER  is  NEVER  LOST," 
as  it  continues  in  some  form  or  another  ad  infinitum. 

WATER  TO  STEAM. 
STEAM  TO  AIR. 
AIR  TO  WATER. 


THE  ANATOMY  OF  THE  ELEMENTS  OF  MAN. 

Their  Location  in  the  Physical  Body. 

MAIN  FORCES. 
THE  MENTAL.  THE  EMOTIONAL.  THE  PHYSICAL. 


LOCATION. 

I .  THE  MENTAL — is  in  the  HEAD — the  Brain. 

I 1 .  THE}  EMOTIONAL — is  in  the  TRUNK — the  Heart. 

III.  THE  PHYSICAL — is  in  the  LIMBS  AND  ARMS — propelling 

power. 


DERIVATIONS. 

THE  HEAD. 

IV.  MENTAL — the  Forehead— Thought. 
EMOTIONAL — the  Eyes  and  Nose — Expression. 
PHYSICAL — the  Lower  Jaw — Action  and  Strength. 

THE  TRUNK. 

V.  MENTAL-j-the  Lungs — Breathing. 
EMOTIONAL — the  Heart — Seat  of  Emotion. 
PHYSICAL — the  Abdomen — Animal. 

THE  LEGS. 

VI.  MENTAL — the  Foot — expressing  the  propelling  force. 
EMOTIONAL — the  Knee — Bouyancy. 

PHYSICAL — the  Hip — The  power  to  propel. 

THE  ARM. 

VI I .  MENTAL — the  Hand — Meaning ;  touch. 
EMOTIONAL — The  Elbow — Gives  expression  which 

emotion. 
PHYSICAL — the  Shoulders — power  and  strength. 

57 


THE  ANATOMY  OF  THE  ELEMENTS  OF  MAN. 

Sub-division— The  Head. 

THE  FOREHEAD. 

MENTAL — the  Brow — Knowledge. 
EMOTIONAL — the  Eyebrow — Expression. 
PHYSICAL — the  Hair — Protection. 

THE  EYE. 

MENTAL — the  Pupil — Sight. 
EMOTIONAL — the  Iris — Expression. 
PHYSICAL — the  Eyelid — Protection. 

THE  MOUTH. 

MENTAL — the  Tongue — Taste. 
EMOTIONAL — the  Lips — Feeling. 
PHYSICAL — the  Jaw  and  Teeth — Masticate. 

THE  NOSE. 

MENTAL — the  Point — Indication. 
EMOTIONAL — Membranes — Sensitive. 
PHYSICAL — the  Bridge — Strength. 

THE  EAR. 

MENTAL — Auditory  Nerve — Transmitter. 
EMOTIONAL — Ear  Drum — Receiver. 
PHYSICAL — Casement— Protection. 

THE  THROAT. 

MENTAL — the  Palate — Mental  Taste. 
EMOTIONAL— the  Larynx— Voice. 
PHYSICAL — Windpipe — Air  Passages. 

A  HAIR. 

MENTAL— the  Point. 
EMOTIONAL — its  Vesicle. 
PHYSICAL— the  Root. 

58 


THE  ANATOMY  OF  THE  ELEMENTS  OF  MAN. 

Sub-division— The  Trunk. 

THE  HEART. 

MENTAL, — Auricles  and  Ventricles — receives  the  Blood. 
EMOTIONAL — Endocardium — Membrane  forming  inner  Valves. 
PHYSICAL — Pericardium — Sac  containing  Heart  and  Root  of  the 
Great  Vessels. 

THE  LUNGS. 

MENTAL — the  Aeration  Surfaces. 

EMOTIONAL — Air  Cells. 

PHYSICAL — Root,  (Pulmonary  Artery  and  Nerves.) 

THE  ABDOMEN. 

MENTAL — the  Pelvic  Organs. 
EMOTIONAL — the  Glands  and  Ligaments. 
PHYSICAL — the  Rectum. 

THE  BACK. 

MENTAL — the  Spinal  Column. 
EMOTIONAL — the  Shoulders. 
PHYSICAL — the  Back  Bone. 

THE  SPINAL  COLUMN. 

MENTAL — the  Point. 

EMOTIONAL — the  Connecting  Cords. 

PHYSICAL — the  Base. 

THE  NECK. 

MENTAL — Front  —Sensitive. 
EMOTIONAL — Sides — Curve. 
PHYSICAL— Back  of  Neck — Base. 

THE  STOMACH. 

MENTAL — Mucus  Lining. 
EMOTIONAL — Peptic  Glands. 
PHYSICAL — Intestines. 

59 


THE  ANATOMY  OF  THE  ELEMENTS  OF  MAN. 


Sub-division— The  Extremities. 
THE  LEG.  THE  ARM. 


THE  FOOT. 

MENTAL — the  Toes. 
EMOTIONAL — the  Instep. 
PHYSICAL — the  Heel. 

THE  KNEES. 

MENTAL — the  Joint. 
EMOTIONAL — the  Ligaments. 
PHYSICAL — the  Knee  Cap. 

THE  HIP. 

MENTAL — the  Ligaments. 
EMOTIONAL — the  Socket. 
PHYSICAL — the  Haunch  Bone. 

THE  TOES. 

MENTAL — the  Big  Toe. 
EMOTIONAL — the  Little  Toe. 
PHYSICAL— the  Middle  Toes. 


THE  HAND. 

MENTAL — the  Fingers — Touch. 
EMOTIONAL — the  Palm — Greeting. 
PHYSICAL — the  Back — Striking. 

THE  ELBOW. 

MENTAL — the  Point. 
EMOTIONAL — the  Joint. 
PHYSICAL — the  Ligaments. 

THE  SHOULDER. 

MENTAL — the  Joint. 
EMOTIONAL — the  Ligaments. 
PHYSICAL — the  Shoulder  Blades. 

THE  WRIST. 

MENTAL — the  Joint. 
EMOTiONAL-the  Ligaments-Pulse. 
PHYSICAL — the  Band  of  Wrist. 


THE  HEEL.  THE  FINGERS. 

MENTAL — the  Calcis — point.        MENTAL — the  Index  Finger. 
EMOTIONAL — the  Ligaments.        EMOTIONAL — the  Little  Finger. 
PHYSICAL — Sy  no  vial  Protector.    PHYSICAL — Middle   Fingers    and 

Thumb. 


THE  ANKLE. 

MENTAL — the  Joint. 
EMOTIONAL — the  Ligaments. 
PHYSICAL — the  Shin  Bone. 


A  FINGER. 

MENTAL — the  Tip. 
EMOTIONAL — the  Middle  Joint. 
PHYSICAL — the  Knuckle. 


THE  THIGH.  A  FINGER  NAIL. 

MENTAL— the  Point  (at  Knee.)    MENTAL— the  Cuticle. 

EMOTIONAL — the  Nail  (proper.) 
PHYSICAL — the  Hoof  (protection.) 


EMOTIONAL — the  Femur. 
PHYSICAL— the  Socket-ball. 


THE  LOCATION  OF  THE  ELEIIENTS  OF  MAN. 

The  Main  Forces. 

In  the  location  of  the  elements  in  the  physical  body,  attention  is 
called  to  the  main  forces  :  namely  to  the  Head — the  mental,  to  the 
Trunk — the  emotional,  and  to  the  Extremities — the  physical. 

Next,  to  the  sub-division  of  each  separate  part.  The  relation  and 
harmony  is  so  complete  as  to  be  a  "  part  of  all" 

THE  HEAD. 

The  Head  is  the  seat  of  Mentality.  All  its  functions  are  but  the 
mental  agents  of  their  respective  instruments  or  machinery  :  i.  e.  the 
mouth  for  the  stomach,  the  nose  for  the  lungs,  the  ears  for  the  mind, 
(brain,)  and  the  eyes  for  the  heart. 

THE  TRUNK. 

The  Trunk  is  the  seat  of  Emotion.  All  instruments  herein  are 
related  to,  or  create  emotion,  i.  e.  the  lungs  for  breathing,  the  heart 
for  feeling,  and  the  abdomen  for  its  emotions. 

THE  EXTREMITIES. 

The  Extremities  are  the  seat  of  Physical  Power.  The  Arms  are 
for  protection,  and  the  Limbs  are  for  locomotion. 

Attention  is  also  called  to  the  fact  that  the  grosser  elements  are 
located  below  the  heart,  and  the  finer  are  above  this  centre.  The 
"  heart "  is  the  source  from  which  radiates  our  life  force  around  it. 

THE  SUN  is  THE  HEART  OF  THE  SOLAR  SYSTEM. 


61 


THE  STUDY  OF  CURVED  LINES. 

CIRCLES,   WAVE   LINES   AND 
SPIRAL   MOVEMENTS. 


THE  STUDY  OF  CURVED  LINES. 


g. 


CIRCLES. 


Mental. 


THE  MIND. 


The  Circles  are  the  mental 
movements.  The  mind  should 
be  inoculated,  or  thought  should 
be  concentrated,  to  express  two 
intentions  —  Circles  and  Grace. 
These  thoughts  are  transmitted  to 
the  finger  tips  and  hand. 


These  exercises  are  subjects  ol 
intelligence.  The  student  know- 
ing this,  will  be  able  to  transmit 
corresponding  action  to  the  body 
movements,  also  receive  expres- 
sion from  the  heart  and  thus 
impart  these  elements  to  the 
movements. 


II. 


\f\f\J 


WAVE  LINES.        Emotional. 


THE  BODY. 


The  Wave  Lines  are  the  emo- 
tion of  movements.  Here  the 
mental  thought  becomes  inten- 
sified, and  the  feeling  of  the  heart 
is  included.  This  emotion  may 
properly  be  called  the  reflection 
of  the  soul,  as  it  comes  from  the 
life  source,  namely  the  heart. 


In  Movements  of  Curves  it 
is  necessary  to  take  the  student 
back  to  "  The  Corrective  Exer- 
cises of  the  Physical  Body," 
which  should  be  well  mastered. 
These  beautiful  movements  will 
then  show  the  reflection  (grosser 
to  finer)  of  their  training  and 
perfection.  They  now  have  the 
assistance  of  the  Soul  and  Mind. 


Ill 


THE  SPIRAL  MOTION.      Power.     THE  SOUL  RESPONDS. 


The  Spiral  Motion  is  the  Power 
necessary  to  complete  this  Trinity. 
The  Spiral  Motion  here  meaning 
Spiritual  Force.  The  Spiral 
Motion  when  added  to  these 
curves  and  movements,  gives 
strength,  also  feeling  of  heart, 
which  opens  the  channel  through 
which  flows  our  Personal  Mao-- 
netism,  and  the  Soul  responds.0 


The  flow  of  Personal  Magnet- 
ism of  the  Soul  through  these 
Arm  and  Body  movements,  will 
in  a  short  time  pervade  our  whole 
being.  The  student  will  feel  the 
Soul  presence  ;  it  will  reach  your 
auditor  and  he  will  feel  it.  We 
are  then  adding  to  ourselves 
"The  Grace  of  Man." 


64 


CURVED  LINES. 

Consist  of 

1.     CIRCLES  Mental— Gravity. 


2.     WAVE  LINES    \J\Jl\f   Emotional— Flexibility. 


3.     SPIRAL  MOVEMENT          >^>  Physical— Force. 


DERIVATIONS. 

4.  CIRCLES  with  Straight  Attitudes. 

5.  CIRCLES  with  Arch  Attitudes. 

6.  WAVE  LINES  with  Circle  Lines  and  Spiral  Movement. 

7.  SPIRAL  MOVEMENTS  with  Knee  Bend  Attitudes. 


FHE  ALPHABET. 


1st  POSITION. 

Should  be  a  half  circle  from  shoulder  to 
finger  lips.  Hands  in  Beauty  Position. 
Known  in  the  Alphabet  thus  ? 


2nd  POSITION. 

Should  be  nearly  a  complete  circle  of 
each  arm.  Do  not  touch  trunk.  Hands 
in  Beauty.  Position.  Known  in  the  Alpha- 
bet thus  © 


3rd  POSITION. 

This  is  the  balance  position.  Hands 
open,  sec  law  of  third  position.  Known 
in  the  Alphabet  thus 


1st  POSITION  UPPER. 
Should  be  as  a  circle  around  the  face. 
Hands  in  Spiral  Position.     Known  in  the 
Alphabet  thus 


2nd  POSITION  FRONT 
Should  be  a  circle  of  both  arms.     Hands 
i  Spiral  Position.   Arms  well  out    Known 
i  the  Alphabet  thus        9 


VI. 

3rd  POSITION  LOWER 
This  is  a  balance  position  also  a  starting 
position   to  reach  first  position.      Hands 
open.     Known  in  the  Alphabet  thus      ? 


3rd  POSITION  UPPER 

Tins  i»  a  balance  position      Hands  in 

Beauty  or  Open  Position.     The  Wave  Line* 

are  usually  added  to  Ibis  [Kwition.     Known 

in  the  Alphabet  thus    \    _     / 


THE  STUDY  OF  CIRCLES,  WAVE  LINES  AND  SPIRAL 
MOVEMENTS. 

THE  SEVEN  ARM  POSITIONS. 
ALPHABET. 

I.  1st  POSITION.     Base  position.  Q\        (Physical.) 

0 

II.  2nd  POSITION.     Circle  position. 


Ml.    3rd  POSITION.     Horizontal  position. 


DERIVATIONS. 


IV.     1st  POSITION  UPPER. 


V.      2nd  POSITION  FRONT. 


VI.     3rd  POSITION  LOWER. 


(Emotional.) 


(Mental.) 


VII.   3rd  POSITION  UPPER. 


A 


Y 


PRACTICE. 


The  three  positions  of  the  Arms  should  be  thoroughly  mastered, 
after  which  the  four  Derivations  may  be  easily  memorized,  as  their 
elements  are  all  embraced  in  the  three  positions.  No  music. 

These  Arm  Positions  will  be  found  to  cover  all  Arm  Movements — 
in  Circular  Lines,  Wave  Lines,  Spiral  Movements  and  Attitudes. 


67 


CIRCLES  (  )  MENTAL. 


1.  THE  HARMONIC  THREE. 

All  exercises  must  be  a  slow  continuous  movement.  The  Mental 
Expression  in  this  exercise  is  Grace,  and  should  be  transmitted  to 
and  through  the  fingers  (the  mental  of  the  arm.)  The  head  should 
impress  the  expression  of  Grace  in  all  movements  of  Grace. 

2.  THE  COMPLETE  CIRCLE. 

This  exercise  is  of  the  same  order  as  No.  1,  only  making  a  com- 
plete circle  of  each  arm.  The  mental  expressions  are  Grace  and  Circles, 
and  are  transmitted  the  same  way, — Grace  by  expression,  and  Circles 
by  the  tracing  of  an  invisible  circle  with  the  finger  tips,  (see  Laws, 
this  series.)  The  eyes  follow  the  hands  up,  when  they  pass  above 
the  line  of  vision. 

3.     THE  ALTERNATE  EXERCISE.     (Harmony  of  3rd  position.) 

This  exercise  consists  of  executing  No.  2,  with  one  hand,  while 
executing  No.  1  with  the  other  hand,  and  repeating  it.  Then  show- 
ing the  3rd  or  Balance  position,  which  establishes  the  blending  of 
continuous  movements,  (see  Laws  of  this  series.)  The  mental  expres- 
sion is  Grace  and  Circles.  When  Attitudes  are  added  to  these  arm 
movements  they  are  illustrated,  and  should  be  accented  by  holding 
them. 

4.     THE  CIRCLES  OF  GRACE. 

The  Circles  in  this  exercise  move  both  ways  for  each  arm  ;  and  are 
known  as  the  Circles  of  Grace.  The  mental  expression  is  a  continu- 
ous thought  of  Grace  and  Circles,  no  break  occurring  until  you  cease 
executing  the  same.  The  movement  of  the  hands  assumes  the  Wave 
Lines,  which  add  emotion  and  therefore  intensifies  the  expression  of 
Grace. 


5.     THE  TRANSMISSION  OF  POWER. 

In  this  exercise  the  Mind  is  given  a  Force  to  Express.  These 
thoughts  are  accented  at  certain  parts  of  the  movements.  In  this 
instance  "  To  gather  Power  "  is  at  1st  Upper  Arm  Position  and  is 
held  longer.  This  attitude  is  illustrated.  The  Head  here  reaches  a 
climax  expression.  The  accent  again  occurs  at  2d  Arm  Position 
Front,  which  is  illustrated,  and  is  intended  to  express  "  Transmitting 
the  Power"  In  this  poise  the  Head  reaches  its  final  climax  of  in- 
tensity of  expression. 

6.     THE  REPENTANT. 

This  exercise  not  only  gives  the  mind  occupancy,  but  takes  in  the 
whole  body,  and  is  an  impersonation  of  a  Penitent.  Following  the 
Arm  Movements  to  the  first  attitude,  (illustrated  and  should  be 
accented,) — is  an  attitude  of  sorrow — "  The  Penitent"  which  is  ex- 
pressed by  the  whole  body.  Blending  the  arms  through  the  next 
Arm  Positions  to  the  second  attitude,  (illustrated  and  is  accented,) 
denotes  "  The  Ch'y  of  Anguish"  The  arms  and  body  dissolving  to 
the  last  Arm  Position,  meaning  "  hope  gone"  Care  should  be  taken 
to  use  Balance  Position  of  Arms  at  each  change,  and  observe  the 
Laws  of  Poise. 

7.     INSPIRATION,  ALL  MY  SOUL  I  AM  CONTENT. 

This  exercise  is  similar  in  nature  to  that  of  the  Repentant, 
except  that  it  expresses  the  glorifying  kind  of  Grace.  To  express  it 
properly  the  soul  feeling  must  reach  that  intensity,  that  you  can  give 
it  expression.  The  Soul  expression  is — "  1  give  my  Soul"  The 
mental  expression  should  assist  the  flow  of  feeling  and  direct  the 
intelligence  force.  The  Harmony  should  be  purity  of  thought, 
elevation  of  feeling  and  control  of  Force  or  Reserve  Power.  The 
Attitudes  are  illustrated  and  should  be  accented,  and  may  be  assumed 
with  a  Spiral  Body  Motion. 


SEVEN  EXERCISES  CIRCLES 


MENTAL. 


EXERCISE  No.  1.       THE  HARMONIC  THREE. 

Arm  Positions.       1st     to     2d          to  3d       to  1st       Do  continuous. 


I 


EXERCISE  No.  2.      THE  COMPLETE  CIRCLE. 

Arm  Positions.    1st   to   2d   to  1st  up.    to  3d   to  1st   Do  continuous. 


t 


EXERCISE  No.  3. 

THE  ALTERNATE  EXERCISE.     (Harmony  of  3d  Position.) 
Arm  Positions. — Use  both  arms  at  same  time. 
Rightist  to  2dtolstuptf$to3dtolstto2d         JU)to   3d  to   lst 
Left    3d  1.  to  1st  to  2d.       ppto2dto    *     lstup.^fi|  to  3d   to    1st 

f_t  ®        9          9  B          9          1 

1)  thus  if    r  (f  thus  rp        m 
1  It  I  Ji,  I 


EXERCISE  No.  4.      THE  CIRCLE  OF  GRACE. 
Arm  Positions. 

1st  to  2d     1st  up.     to  3d     to  1st     to  2d  to  1st  up.  to  2d 


to  1st    to  3d     to  1st  up.     to  2d     to  1st     to  3d  1. 


t        t 


Hold  2d  position.          up.  upper.          1.  lower. 
70 


EXPLANATION. 
1.     THE  HARMONIC  THREE. 

f  t  t 


Standing  poise.  Move  the  arms  through  the  three  positions  as  per 
cut,  making  a  slow  continuous  movement.  Hands  are  in  Beauty 
Position  and  open  at  3d  Position.  The  hand  turns  (palm  down)  at 
3d  Position  (see  Laws  this  series.)  Count  8  for  this  exercise  once 
through.  Do  8  times.  Slow  gavotte  music. 


2.     THE  COMPLETE  CIRCLE. 


t      t 


Standing  poise.  Move  the  arms  through  positions  as  per  cut.  As 
the  arms  pass  from  2d  to  1st  Upper  Position,  (before  the  face,)  the  eyes 
follow  them  up.  Same  for  hands  as  No.  1.  Count  8  for  once  through. 
Do  8  times.  Slow  gavotte  music. 

3.     THE  ALTERNATE  EXERCISE. 


This  is  Exercise  No.  2  with  right  hand  and  No.  1  with  left  hand  and 
reverse,  and  a  Balance  Position  before  the  finish.  Standing  poise. 
Move  both  arms  through  position  as  per  cut,  accent  by  holding  illus- 
trated movement.  Same  for  hands  as  No.  1.  The  eyes  follow  the 
high  hand,  and  the  head  is  away  from  the  highest  hand,  (see  Laws  this 
series.)  Observe  Circles  of  each  arm,  except  at  Balance  Position. 
Count  to  accented  poise  4,  hold  accent  4  —  same  count,  doing  exercise 
continuous.  32  bars  slow  gavotte  music." 

4.    THE  CIRCLES  OF  GRACE. 


<f>f  f-f  ft  ¥f  ft 


This  is  No.  2— The  Complete  Circle— going  around  and  reverse, 
and  should  be  done  continuous,  the  last  position  (3d  Lower)  being  a 
Balance  Position  to  allow  starting  over  again— by  blending  one 
position  into  the  other.— The  hands  at  1st  Upper  take  the  Wave 
Line  motion  to  change  the  Circles  to  reverse.  The  Laws  of  Head 
and  Arms  should  be  observed,  and  grace  of  movement  have  full 
play.  Count  8  for  each  complete  Circle.  64  bars  gavotte  music. 

71 


EXERCISE  No.  5.    THE  TRANSMISSION  OF  POWER. 

NOTE— Accent  Attitudes  (illustrated)  by  holding  them. 

Arm  Positions. 
1st  to  2d  to  1st  fr.  up.      W     to2dto2dfr.    «^§>     to  3d  1.  to  1st 


thus 


t 


thus 


EXERCISE  No.  6.  THE  REPENTANT. 

NOTE — Accent  Attitudes  by  holding  them. 
Arm  Positions,  (both  at  same  time.) 


3d  1.  to  1st  to  2d  to 


ft 


l.head 

r.  3d  1.  /^tT3(1  to  lstto  2d  to  lst  f-  "P 


thus 


thus 


EXERCISE  No.  7. 

Subjects — THE  INSPIRATION,  ALL  MY  SOUL,  I  AM  CONTENT. 
NOTE — Accent  Attitudes. 

THE  INSPIRATION.     \\^/J  ALL  MY  SOUL 

1st  to  2d  to  3d  up.        £*f        to  2d  to  1st  to  2d  to  3d 


thus 

I  AM  CONTENT. 
1st  to  2d  hands  clasped. 

(f)  thus 


fr.  front.          1.  left  baud.          r.  right  haud. 


thus 


72 


5.    THE  TRANSMISSION  OF  POWER. 


f  t          f 


. 

Start  this  exercise  from  a  slight  sinking  movement.  Move  arms 
through  positions  as  per  cut  to  illustration,  (accented.)  The  climax 
of  gathering  force  is  reached  in  this  Attitude,  by  a  mental  feeling  of 
reaching  upward.  This  is  an  Arch  (outward)  Attitude.  Now  move 
the  arms  through  the  next  position  (body  natural)  to  illustration 
(accented)  and  here  transmit  or  impart  the  Soul  feeling.  Hands  assume 
wave  lines  at  climaxes.  All  movements  should  be  very  slow  and  im- 
pressive. Use  an  appropriate  hymn  and  move  to  its  rythm.  Do  4  times. 

6.    THE  REPENTANT. 

m2Tn.lt.* 

Standing  Poise.  Move  arms  as  per  cut  to  first  impersonation,  "The 
Penitent  "  (illustrated  and  accented.)  This  is  an  Arch  (inward  knee 
bend)  Attitude  (Study  of  Attitudes.)  The  arms  go  to  head,  and  3d 
lower  with  the  entire  body  and  mentality  expressing  the  sense  of  the 
subject.  Next,  (body  natural)  the  arms  pass  through  the  positions  to 
accented  Attitude  (illustrated)  "The  Cry  of  Anguish"  This  is  an  Arch 
(outward)  Attitude.  The  physical  and  mental  expressing  the  sense, 
by  starting  from  a  slight  sinking  movement  and  thus  emphasizing  a 
stronger  effect.  Hands  same  as  No.  5.  Now  moving  arms  to  last 
position  and  the  drooping  of  the  head  and  an  inward  bend  of  the 
body  well  expresses  "  hope  gone  "  if  the  mind  has  been  so  imbued, 
(not  illustrated.)  Count  to  accented  poise  4,  hold  accent  4  ;  same 
count  until  finished.  Do  4  times.  Slow  gavotte  music. 

7.    THE  INSPIRATION,  ALL  MY  SOUL,  I  AM  CONTENT. 

n.l  tfti 

Start  this  exercise  from  a  slight  sinking  movement,  rising  upward 
with  a  spiral  motion.  Move  arms  through  positions  as  per  cut,  to  the 
first  accented  illustration.  These  are  Arch  (outward)  Attitudes  (f  angle 
front  view.)  The  mind  must  be  purged  of  all  carnality  and  the  eyes 
should  reflect  the  feeling  of  being  inspired.  The  hands  and  head 
with  the  body,  should  also  have  a  slight  wave  or  spiral  motion  to 
reach  these  accents.  From  this  Attitude  move  the  arms  through  the 
next  positions,  repeat  the  sinking  and  upward  spiral  motion  of  the 
body,  and  impress  the  2d  Attitude  by  an  action  of  the  head,  expressing 
"  /  give  my  Soul."  The  same  action  is  repeated  to  3d  Attitude, 
(hands  clasped);  from  that  position  slide  rear  foot  backward  and 
slowly  kneel,  assuming  last  poise,  eyes  looking  up.  About  face 
(f  front  view)  and  repeat  exercise.  Count  to  accented  poise  4,  hold 
accent  4  ;  same  count  until  finished.  Do  4  times.  Slow  gavotte  music. 

73  e 


WAVE  LINES  EMOTIONAL. 


1.    WAVE  LINE  BALANCE. 

The  Wave  Lines  are  executed  usually  in  horizontal  and  diagonal 
lines  and  resemble  waves  ;  when  added  to  Circles  they  produce  the 
emotion  of  such  lines.  This  exercise  is  a  horizontal  line  movement 
with  each  arm.  The  emotion  should  start  at  the  shoulders  and  be 
transmitted  along  the  curves  of  the  arm.  The  mental  expression  is 
strengthened  by  a  more  intense  feeling  of  grace  imparted  to  these 
wave  motions. 

2.    THE  HARMONIC  THREE  WITH  WAVE  LINES. 

This  is  Exercise  No.  1  of  Circle  series,  (page  68.)  The  Circles  are 
executed  with  Wave  Lines,  giving  to  them  grace,  and  the  Wave  Lines 
emotion.  The  mental  expression  is  emotional  grace,  if  the  method 
heretofore  described  has  been  followed. 

3.    THE  WAVE  LINES  DIAGONAL. 

The  Wave  Lines  here  follow  a  diagonal  line  of  direction.  Both 
arms,  starting  at  one  side  and  moving  diagonally  across  the  body  and 
upward,  require  the  head  and  body  to  take  on  these  Wave  Lines. 
They  are  strengthened  by  starting  from  a  slight  sinking  of  body,  to 
its  fullest  stretch  in  a  diagonal  direction.  This  is  really  creating  an 
emotional  action  of  the  physical  body.  The  mental  feeling  of  grace 
should  be  manifest. 

4.    THE  UPWARD  ADVANCE.    (A  PASTORAL.) 
Subjects  —  GATHERING    INSPIRATION,    RECEIVING    INSPIRATION, 

INSPIRED. 

In  this  exercise  the  intention  of  expressing  an  emotion  of  intelli- 
gence is  obvious  by  taking  the  sense  of  each  subject.  In  assuming 
the  first  attitude  the  entire  body  should  feel  the  emotion  of  "  Gather- 
ing Inspiration."  The  next  attitude  the  mental  expression  of 
"  Receiving  Inspiration"  is  a  combination  of  fear,  joy,  uncertainty 
and  certainty  in  one,  or  suppressed  emotion.  At  the  next  attitude 
the  mental  and  emotional  flood  gates  of  feeling  are  opened  and  the 
feeling  of  "  I  am  Inspired  "  permeates  the  entire  being.  The  last 
attitude  is  an  offering  of  "  steadfastness  "  which  is  a  fitting  finale  to 
this  Pastoral. 

74 


5.    THE  EMOTION  OP  LOVE. 

Subjects — THE  STARS  ABOVE.     To  THEE  MY  HEART.     AT  THY 

FEET. 

This  conception  calls  for  a  strain  of  Ideality,  which  is  developed 
Personal  Magnetism.  (See  study  of  Personal  Magnetism  and  Ideality.) 
Here  the  purity  or  essence  of  emotion  is  shown,  namely,  "Love"  In  the 
first  attitude  "  The  stars  above"  is  expressed  by  the  glorifying  feeling 
of  Ideality  and  the  interpreter  of  this  subject  must  lose  "  self"  and 
permit  his  Soul  to  roam  in  the  realms  of  "  the  stars  above"  The  next 
attitude  expressing  "  To  thee  my  heart "  is  the  transmission  of  said 
feeling.  The  soul  flight  is  then  again  repeated  and  the  attitude  of 
"  At  thy  feet "  expresses  the  goal  sought  and  found. 


6.    IN  A  GARDEN  FAIR. 
Subjects — HE  CALLS  TO  HER.  SHE  is  IN  A  BALCONY.  His  PRESENCE 

THERE.      HlS  HEART  TO  HER,   HIS  LIPS  TO  HER.      HlS  WOR- 
SHIP.     HlS  PERPLEXITY. 

This  exercise  is  similar  to  No.  5  only  of  a  lighter  vein, 
and  gives  full  play  to  Wave  Lines  in  a  diagonal  direction  for  the 
head,  arms  and  body,  with  an  emotional  intent  (a  meaning.)  De- 
scription— The  scene  is  in  a  Garden  Fair.  An  Apollo  gliding  toward 
a  balcony  whereon  stands  his  goddess ;  sending  forth  his  whole  Soul? 
he  attracts  her  attention.  In  the  exhilaration  of  bliss  he  moves  on 
air ;  a  kiss,  a  heart  of  joy,  ecstasy — seem  to  spring  from  his  Soul.  His 
perplexity. 


7.    THE  GATEWAY  OF  HEAVEN— DEATH. 

Subjects — DISCOVERY  AND  IGNORANCE.    CURIOSITY  AND  DAWN- 
ING.   HORROR.     REALIZATION.    THE  TRUTH — HEAVEN. 

The  emotion  expressed  here  is  entirely  of  a  Soul  nature.  The 
physical  is  subdued  or  mastered  by  the  change  of  feeling  from  the 
physical  to  the  spiritual.  Description — Emerging  through  the  veil 
of  Isis  comes  Death ;  overcome  with  horror  I  faint;  awakening,  fascina- 
tion draws  me  closer  ;  then  with  exhilarated  joy  I  recognize  Death  as 
but  the  Gateway  of  Heaven. 


75 


SEVEN  EXERCISES 
WAVE  LINES  \_/"\J<~\-/  EMOTIONAL- 


EXERCISE  No.  1. 
Arm  positions. 


THE  WAVE  LINE  BALANCE. 


1st  to  2  to 


R.  3d  wave 
L.  3d  lower 


thus 


3d  tolstto2dto 


R.  3d  lower 
L.  3d  wave 


thus 


EXERCISE  No.  2.    THE  HARMONIC  THREE  WITH  WAVE  LINES. 
Arm  Positions.        1st     to     2d     to     3d     to     1st       Do  continuous. 


O  9 

T  t 


EXERCISE  No.  3. 
Both  arms  start  at 


THE  WAVE  LINES  DIAGONAL. 


to  2d  to  3d 


return  to 

starting  point 

thus 


7G 


EXPLANATION. 
1.    THE  WAVE  LINE  BALANCE. 

f  1 1  $  t  f 

Start  with  the  standing  poise.  Pass  arms  through  1st  to  2d  position 
and  then  execute  a  Wave  Motion  with  right  arm  as  per  trace  line  to 
3d  position,  while  left  passes  to  3d  lower  position,  and  is  a  counter 
balance.  This  is  a  Straight  (right  side)  Attitude.  The  arms  then 
move  to  3d  or  balance  position  in  order  to  go  to  1st  position.  Now 
repeat  same  to  left.  Hands  in  beauty  position  and  open  at  3d  position. 
The  wrist  action  is  strongly  called  for  in  this  exercise.  Repeat  4 
times.  Do  alternate.  Slow  gavotte  or  waltz  music. 

2.    THE  HARMONIC  THREE  WITH  WAVE  LINES. 


f  t 


Standing  poise.  Move  arms  through  the  three  positions  as  per  cut, 
making  a  slow  continuous  movement,  and  add  the  Wave  Motion, 
especially  at  the  change  from  one  position  to  the  other.  The  head 
action  and  a  slight  Wave  Motion  of  the  body  emphasizes  the  emotion 
displayed  in  this  movement.  Do  continuous.  32  bars  slow  gavotte 
music. 

3.    THE  WAVE  LINES  DIAGONAL. 


It  \  I 


Start  and  assume  Attitude  as  per  illustration.  Both  hands  at  left 
side.  Pass  arms  with  a  wave  motion  (per  trace  line)  to  3d  upper  on 
right  side.  As  the  arms  cross  the  body  diagonally  upward,  weight  of 
the  body  is  changed  to  lean  to  the  right.  (Technical — start  with 
Straight  (left  side)  Attitude  and  move  to  Straight  (right  side)  Atti- 
tude. Return  arms  and  body  to  starting  point.  Repeat  4  times. 
Now  repeat  exercise  from  right  side — with  arms  both  at  right  and 
body  Straight  (right  side)  Attitude.  Repeat  4  times.  Count  8  for 
each  wave  up  or  down.  Slow  gavotte  music. 

77 


EXERCISE  No.  4.    THE  UPWARD  ADVANCE  (A  PASTORAL.) 
Subjects— GATHERING    INSPIRATION,    RECEIVING    INSPIRATION, 

INSPIRED. 
GATHERING  INSPIRATION  RECEIVING  INSPIRATION 


I  AM  INSPIRED. 
3dtolstto2dto3d"PPetr 


tn 


- 


R.  1st  front 


EXERCISE  No.  5.  THE  EMOTION  OF  LOVE. 

Subjects — THE  STARS  ABOVE.    To  THEE  MY  HEART.     AT  THY  FEET. 

THE  STARS  ABOVE  ft      To  THEE  MY  HEART. 


L.  at  heart 
R.at3d 


thus 


Repeat  movements  "The  stars  above"  and  "To  theemy  heart ;" 
finish  in  last  attitude  only  kneeling  thus 


3d  to  1st 


"  At  thy  fed." 


78 


4.    THE  UPWARD  ADVANCE  (A  PASTORAL.) 

ntmtnttn) 

Assume  with  1st  arm  movement,  Straight  (forward  knee  bend) 
Attitude,  see  1st  cut.  The  Wave  Motion  is  diagonally  upward  in 
front.  Start  from  a  sinking  movement  of  the  body  and  go  upward, 
diagonally  forward.  Accent  this  Attitude.  Now  (body  natural,) 
move  the  arms  through  position  to  2d  Attitude  (illustrated 
and  accented.)  This  is  an  Arch  (inward  knee  bend.)  Attitude.  Move 
the  arms  through  next  position,  at  same  time  (body  natural — change 
weight  to  front  foot)  putting  body  in  a  preparatory  position  for  3d 
illustration  (accented.)  This  is  an  Arch  (outward)  Attitude.  From  here 
(body  natural)  move  arms  and  assume  last  Attitude.  For  the  mental 
expression  see  No.  4  page  74.  These  Attitudes  are  strengthened  by 
starting  from  a  sinking  position  and  then  go  up  ;  also  during  the  arm 
movements  preparatory  blendings  of  the  poises  should  be  observed  so 
as  not  to  make  the  assuming  of  any  Attitude  abrupt.  Grace  of  motion 
is  a  continuous  motion.  Count  to  accent  4,  hold  accent  4.  Same 
count  until  finished.  Do  4  times.  Slow  gavotte  music. 


5.    THE  EMOTION  OP  LOVE. 

Subjects — THE  STARS  ABOVE.    To  THEE  MY  HEART.    AT  THY 
FEET. 

t  limit 

Assume  Attitude  with  1st  arm  movement.  This  is  a  Straight  (left) 
Attitude.  Accent  this  Attitude.  With  next  arm  movements  (face 
right,)  assume  2d  Attitude.  This  is  a  Straight  (right)  Attitude, 
with  left  hand  at  heart,  (accented.)  Now  repeat  1st  arm  movements 
and  first  Attitude  (accented,)  then  2d  arm  movements  and  2d  Attitude 
(accented.)  In  the  position  of  this  2d  Attitude  slowly  kneel  down, 
see  illustration,  (accented.)  Count  to  accent  4,  hold  accent  4  ; 
same  count  until  kneeling,  count  4.  Do  4  times.  Slow  gavotte 
music. 

79 


EXERCISE  No.  6.  IN  A  GARDEN  FAIR. 

Subjects  —  HE  CALLS  TO  HER,  SHE  is  IN  A  BALCONY.  His  PRESENCE  THERE. 

HlS  HEART  TO  HER.    HlS  LIPS  TO  HER.  HlS  WORSHIP.    HlS  PERPLEXITY. 


HE  CALLS  TO  HER,  SHE  IS  IN  A  BALCONY.         HlS  PRESENCE  THERE. 


both 

3d  left  lower 

thus 


HlS  HEART  TO  HER 


1st  to 


, 
to 


L.  at  heart 


t 


HlS  WORSHIP. 

3d  to  2d  Hands  clasped 

tt 


thus 


EXERCISE  No.  7.     THE  GATEWAY  OF  HEAVEN — DEATH. 
Subjects — DISCOVERY  AND  IGNORANCE.     CURIOSITY   AND  DAWNING. 
HORROR.    REALIZATION.     THE  TRUTH— HEAVEN. 


DISCOVERY. 
1st  to  2d  front  to  on  knee 

thus 

CURIOSITY  AND 
Left    3d  to  1st  to  2d  to  chin 
Right  2d 2dto  1st  up 


HORROR. 


R.Sdup. 
L.  3d  lower 

thus 


thus 


IGNORANCE. 

Rise      9 ,      L.  to  1st  up. 
and  to2dt°R.  to  1st  front! 


t 


thus 


DAWNING. 
to  2d  to 1st  up. 

to  3d  to  1st  to  2d  to  chin 


REALIZATION. 
R.  3d  to  2d  to  3d  up.  ( 
L.  1st  to  2d  to  head 


f  f  f 


thus 


THE  TRUTH— HEAVEN 
Pirouette  and  kneel 
3d  1st  2d  1st  up. 


thus 


so 


6.     IN  A  GARDEN  FAIR. 
HE  CALLS  TO  HER,  SHE  IS  IN  A  BALCONY.    HlS  PRESENCE  THERE.    His 

HEART  TO  HER.     HlS  LIPS  TO  HER.     HlS  WORSHIP.     HlS  PERPLEXITY. 


ttitti 


Start  same  Attitude  and  Arm  Positions  as  No.  3,  (Wave  Lines 
Diagonal,)  thus  move  both  arms  from  left  side  diagonal  up  to  right 
side  ;  body  moving  from  Left  Poise  to  Right  Poise  (accented)  ;  this 
representing  "  He  calls  to  her"  Now  return  arms  to  left  side  (body 
to  Left  Poise)  and  looking  up,  (accented)  representing  "  His  presence 
there"  Then  (body  natural)  follow  arm  positions,  start  to  blend  the 
body  into  4th  Attitude  Arch  (right,)  accented  ;  (£  front  view)  with  left 
hand  on  heart.  Follow  (body  natural)  arm  positions  and  start  to  blend 
body  to  5th  Attitude  Arch  (right),  accented  ;  the  fingers  of  right  hand 
nearly  touch  lips  in  passing  in  Wave  Lines  from  2d  to  3d  upper  posi- 
tions. Follow  (body  natural)  arm  positions  and  start  to  blend  body  to 
6th  Attitude  Arch  (right,)  accented  ;  here  the  hands  are  clasped.  Now 
move  arms  to  last  Attitude  "  His  perplexity  "  the  body  blending  to  a 
Straight  (left  knee  bend,)  as  per  illustration  (accented)  ;  the  head  here 
expressing  the  intention.  Repeat  from  right  side  use  reverse  posi- 
tions. Count  to  accent  4,  hold  accent  4;  same  count  to  finish. 
Use  Trio  of  gavotte  music. 

7.    THE  GATEWAY  OF  HEAVEN  —  DEATH. 
Subjects  —  DISCOVERY  AND  IGNORANCE.     CURIOSITY  AND  DAWN- 


Start Standing  position,  move  arms  and  slowly  kneel,  (right  foot 
in  front,)  and  hold  attitude  per  illustration,  meaning  "  Discovery." 
Rise  slowly,  move  arms,  and  blend  body  to  2d  Attitude  (accented,) 
meaning  "unable  to  fathom-"  this  is  a  Straight  (back)  knee  bend.  Follow 
(body  natural)  arm  positions  and  start  to  blend  body  preparatory  to 
assume  3d  Attitude  (accented)  ;  this  is  an  Arch  (left  knee  bend.)  Now 
(body  natural)  move  arms  and  blend  body  to  assume  4th  Attitude 
(accented)  ;  this  is  an  Arch  (right  knee  bend)  ;  the  expression  of  the 
last  two  Attitudes  mean  "  Curiosity  and  Dawning.  Now  step  on  right 
foot  and  assume  a  Straight  (forward  knee  bend)  £  front  ;  clinch  hands  ; 
the  expression  of  head  and  shoulders  is  "  Horror."  Remain  with 
weight  on  right  foot  and  assume  arm  position  and  an  Arch  (outward) 
Attitude  (f  front  view)  j  as  per  cut  (accented,)  meaning  "  Realization." 
The  last  is  the  Pirouette,  turning  as  if  fainting  and  fall.  (See  Study  of 
Flexibility)  ;  remain  on  floor  8  counts  at  fall.  Rise  on  knees  (left 
knee  up,)  and  repeat  entire  ;  reverse  all  movements  and  finish  with 
Pirouette,  and  kneel  as  per  last  cut,  meaning  "  The  Truth  —  Heaven-" 
the  mental  is  now  purely  spiritual  and  the  face  should  express 
seeing  the  Gates  of  Heaven.  Count  4  to  accent,  hold  accent  4  ;  same 
count  until  finished.  Use  slow  gavotte  music. 

81  7 


SPIRAL  MOVEMENTS    g~>    POWER. 


1.    THE  SPIRAL  MOTION. 

The  Spiral  Motion  is  always  upward.  It  embraces  all  the  elements 
of  the  Circle  lines,  Wave  lines  and  Curved  lines.  When  the  Spiral 
Motion  is  added  to  the  movement  of  the  body  the  sinking  or  bend- 
ing of  the  knee  is  included.  As  a  knee  bend  gives  strength  to  a  poise, 
so  does  the  Spiral  Motion  give  force  to  the  curved  lines.  This 
motion  calls  for  that  intense  expression  of  the  Soul,  and  developes 
Personal  Magnetism.  This  exercise  is  for  the  Spiral  Motion  of  each 
arm,  with  the  same  motion  added  to  the  body. 

2.     THE  CALL  TO  GOD. 

Subjects— HIM.    THE  OFFER.    THE  CALL  TO  GOD.    THE  DOUBT. 

ANSWERED. 

This  exercise  is  entirely  of  a  spiritual  nature,  except  in  one  instance 
— "  The  Doubt "  and  that  is  but  a  thought  of  humility  in  a  spiritual 
sense.  Now  the  spiritual  is  the  master  of  the  physical.  Opening 
with  the  first  subject,  "  Him,"  the  Spiral  Attitude  tells  the  whole 
story,  if  the  interpreter  has  developed  his  Soul  expression  and  is 
permeated  with  it.  The  eyes  and  the  contour  of  poise  should  trans- 
form his  physical  for  the  time  being.  The  attitude  "TJt*  Offer,"  well 
expresses  offering  yourself  to  God.  If  the  student  has  followed  the 
foregoing  outline,  he  will  at  the  next  subject  "  The  Call  to  God  " 
reach  the  climax  of  the  exercise  ;  the  Spiral  Motion  and  the  Arch 
Poise  are  the  strongest,  and  the  inner  expression  is  strengthened  to 
its  fullest  extent  by  the  store  of  Reserve  Power  gathered  by  the 
student.  The  attitude  "The  Doubt,"  has  been  explained.  The  last 
is  the  final  climax  "  Ansicered"  which  is  a  pure  Spiral  Motion.  See 
Study  of  Control  of  Will  and  The  Forces,  they  will  assist  the  purg- 
ing of  all  carnality,  which  would  be  foreign  here,  and  make  the 
proper  execution  of  this  exercise  impossible. 


3.    TAKE  MY  SOUL  IN  THY  KEEPING. 

Subjects — THE  SOUL'S  AWAKENING.    SUPPRESSED  SUSPENSE.    MY 
SOUL  IN  THY  KEEPING. 

This  exercise  is  of  a  similar  nature  to  No.  2  except  that  the  inter- 
preter has  developed  to  a  certain  extent,  the  forces  within  him, 
especially  that  of  Personal  Magnetism.  With  its  proper  conception, 
adding  of  course  the  exercises  previously  mastered,  he  will  portray 
it  properly.  This  exercise  is  more  the  expression  of  the  Forces  with- 
in than  a  mental  photograph,  although  everything  is  registered  at  the 
brain.  In  the  first  subject,  "  The  Soul's  Awakening,"  if  the  mind 
has  been  so  charged,  the  feeling  within  would  be  as  of  the  opening  of  a 
rose.  Ideality  would  possess  the  mind  and  the  Force  would  ascend 
to  a  point  that  to  the  keen  student,  all  would  be  glory  and  sunshine, 
and  as  the  mood  changes  to  the  next,  " Suppressed  Suspense"  the 
face  is  covered,  tears  are  shed  and  the  emotion  sways  the  body  by  the 
masterful  spiritual  feeling,  which  has  overcome  the  physical  almost  to 
the  point  of  nonenity.  These  exercises  are  doubly  described,  that  is 
motions  of  the  body  are  given  and  also  the  thoughts  that  should 
engross  the  mind.  As  the  thoughts  here  given  surge  through  the 
mind  the  exterior  cannot  help  express  what  is  passing  within.  As 
the  successful  actor  becomes  for  the  time  being  incarnated  in  his  part, 
so  I  insist  that  momentarily  you  must  lose  your  identity  and  become 
but  the  living  expression  of  the  thoughts  within. 

4.    THE  WARRIOR. 

Subjects — DETERMINATION.      DEFIANCE.      THE  SWORIX     THE 

CAUSE  FOREVER. 

The  study  here  is  heroic,  and  the  movement  therefore  more  accel- 
erated. Determination  and  strong  force  of  character  are  displayed 
and  devotion  to  the  physical  sense  of  honor.  They  reach  a  spiritual 
intention  at  the  attitude  of  "The  Cause  Fwever."  The  subjects  are 
^almost  self  explanatory,  and  when  the  student  can  lose  "  self"  to 
that  extent  that  his  auditors  almost  feel  his  masterful  presence,  as  a 


warrior  "  Determined"  he  is  bringing  out  that  which  is  within  him. 
The  lesson  is  given  here  to  study.  The  very  attitude  of  "  Defiance  " 
should  inspire  the  thought.  The  attitude  of  "  The  Sword  "  is  only 
preparatory  to  the  climax  "  The  Cause  Forever"  where  the  Spiral 
Motion  of  the  swinging  of  the  sword  and  the  body  motion  should 
be  most  pronounced,  which  would  be  fitting  for  a  leader  of  men  or 
soldiers  and  carry  all  by  the  unseen  Force  he  displays. 

5.    THE  PLEA. 
Subjects — SORROW.    A  PLEA.    DIVINE  SUPPLICATION.    PRAYER 

AND  RESIGNATION. 

This  is  a  study  in  opposition  to  that  of  No.  4.  The  titles  here 
clearly  define  the  impersonations.  They  are  a  combination  of  the  sad 
emotions  changing  to  that  of  a  spiritual  nature.  The  sorrowful  attitude 
first  assumed,  will  well  express  the  miserable  state  or  mental  condi- 
tion desired  and  can  be  intensified  to  the  extent  of  the  ability  of  the 
student.  A  plea  for  deliverance  follows,  which  leads  to  the  climax 
"  Divine  Supplication."  The  slow  retiring  movement  to  "  Prayer  " 
is  a  most  excellent  study.  The  last,  "  Resignation"  although  the 
action  may  seem  unimportant,  is  one  of  the  "  leading  "  studies  in 
this  work,  that  of  Flexibility  and  Relaxation. 

6.    AN  ALLEGORY. 

Subjects — ATTENTION.  TELLING  A  MULTITUDE.  THERE  AP- 
PEARED AND  WAS  SEEN  A  VISION.  SURPRISE.  OP  ONE 
ON  HIGH.  I  ONLY  A  MORTAL. 

This  is  a  study  of  Reserve  Power.  The  student  describing  his 
emotions  of  having  seen  a  vision.  The  first  movement  of  slowly 
raising  the  hand,  should  be  backed  by  all  the  Force  in  reserve  mean- 
ing to  get  the  "  Attention  "  and  silence  of  the  multitude.  The  next 
study  "  Telling  a  Multitude  "  is  a  sweeping  arm  motion,  impressed 
so  strongly  with  the  head  as  to  penetrate  the  most  remote  corner. 
The  narration  is  now  unfolded  to  the  audience  and  is  graphically  de- 
scribed, "There  appeared  and  VMS  8&en  a  vision,"  with  which  the  final 

84 


expression  changes.  The  mood  rapidly  changes  again  to  "Sur- 
prise" Continuing  to  describe  his  emotions,  the  Spiral  Motion 
reaches  its  highest  upward  stretch  in  expressing  "  Of  one  on  high" 
The  last  "  I  only  a  Mortal "  is  a  study  of  relaxation  from  finger  tips 
to  the  toes. 

7.    THE  ARABESQUES. 

The  Arabesques  relate  to  the  Mercury  Balance  Position  and  are 
taken  from  the  statue  of  Mercury,  and  by  ancient  artists  were  favor- 
ites for  panel  drawings.  Blasis  in  speaking  of  Arabesques  called 
them  improper  attitudes  (but  favored  them)  because  he  could  not 
locate  their  gravity.  The  Laws  of  this  work,  cover  the  points  in 
bending,  in  the  case  of  counter  balance  at  the  control  of  gravity 
centers.  They  certainly  are  very  beautiful  if  the  accent  is  given  at 
the  pose  of  Mercury  on  the  Right  or  Left  Arch  Poise  as  marked. 


85 


SEVEN  EXERCISES.   SPIRAL  MOVEHENT 


POWER. 


EXERCISE  No.  1.        THE  SPIRAL  MOTION. 


Arm  Positions     -p  1st  up. 
3d  1.  to  1st  to  2d  to    'Spiral. 
L.3dl. 


thus 


R.3dl. 

2dto3dl.tolstto2dtoL  1st  up. 
'Spiral. 


thus 


EXERCISE  No.  2.          THE  CALL  TO  GOD. 

THE  CALL  TO  GOD.     THE  DOUBT. 


Subjects — HIM.    THE  OFFER. 
ANSWERED. 


HIM. 

*D  Istu 

lstto2dto*"Spira 
L.  3d  1. 


thus 


THE  DOUBT. 

3dtolstto2dtoR.3dl 
L.face 
thus 


THE 
OFFER. 

to  3d  to  3d  1. 


thus 


THE  CALL 

TO  GOD. 

Istto2dto3dupj 


n 


tW 


ANSWERED. 

R.3dl. 

3dtolstto2dtoT  Istup 
^Spiral 
thus 


f 


EXPLANATION. 
1.     THE  SPIRAL,  MOTION. 


^ 

Begin  this  exercise  from  a  Sinking  (knee  bend)  Attitude.  Move 
the  arms  through  the  positions,  at  same  time  executing  a  Spiral 
Motion  of  the  body  upward,  and  after  the  arms  reach  2d  position 
(the  first  time)  the  right  arm  continues  the  Spiral  upward  to  its 
highest  stretch  ;  the  left  hand  going  to  3d  lower  is  a  counter  balance, 
(see  1st  illustration.)  From  this  Attitude  to  begin  the  exercise  over 
again,  you  must  dissolve  gracefully  by  having  the  arms  and  body 
return  to  a  natural  Attitude  ;  this  time  the  left  arm  finishes  the 
Spiral  upward,  (see  2d  illustration.)  The  eyes  follow  the  hand  up. 
The  Spiral  of  the  arms  must  be  observed.  The  body  assumes  a  slight 
Arch  (outward)  at  Attitudes  that  are  illustrated  and  accented.  Count 
8  for  Spiral  Motion  upward  and  same  to  recover.  Repeat  4  times. 
Slow  gavotte  music. 

2.    THE  CALL  TO  GOD. 
Subjects  —  HIM.     OFFER.     CALL  TO  GOD.     DOUBT.    ANSWERED. 


Begin  the  first  subject  in  same  manner  as  No.  1,  to  illustration, 
accented.  Then  move  arms  through  next  position,  and  assume  a 
Straight  (back  knee  bend)  Attitude,  and  lookup  as  if  u  Offering  your- 
self  to  God."  Follow  the  next  arm  movements  (body  natural)  and 
by  a  Spiral  Body  Motion  assume  the  3d  Attitude,  (accented) ;  this 
is  an  Arch  (outward)  Attitude,  (f  front  view,)  and  is  easily  assumed 
by  placing  weight  on  front  foot.  Move  arms  through  next  positions 
(body  natural)  then  move  body  preparatory  to  assume  4th  Attitude, 
(illustrated  and  accented) ;  this  is  a  Straight  (left  side  knee  bend) 
Attitude,  the  left  hand  crosses  face  from  2d  position.  Now  follow 
arm  and  body  movements  the  same  as  No.  1,  (with  this  difference,  use 
left  hand  for  Spiral)— meaning  "Answered."  Recover  a  natural  poise 
by  following  the  last  positions  (per  cut)  of  the  arms.  Count  to  accent 
4,  hold  accent  4  ;  same  count  until  finished.  Repeat  4  times.  Use 
an  appropriate  hymn  and  sway  to  its  rhythm. 

87 


EXEECISE  No.  3.        TAKE  MY  SOUL  IN  THY  KEEPING. 
Subjects—  THE  SOUL'S  AWAKENING.    SUPPRESSED  SUSPENSE.    MY 
SOUL  IN  THY  KEEPING. 


THE  SOUL'S  AWAKENING. 
1st  to  2d  to  3d  Body  Spiral 


t 


thus 


MY  SOUL  IN  THY  KEEPING.  ( 
3d  to  1st  to  2d 


SUPPRESSED  SUSPENSE. 
About  face  sway  body. 
to  2d  to  cover  face, 


thus 


thus 


NOTE.— Repeat  entire,  start  from  left  side. 


jSlowly  kneel 
look  up 

thus 


EXERCISE  No.  4.  THE  WARRIOR. 

Subjects  —  DETERMINATION.      DEFIANCE.      THE    SWORD. 
CAUSE  FOREVER. 


DETERMINATION. 
Istto2dto3dl.clinched 


thus 


THE  SWORD. 
Istup.to3dtolstto2d 

nn 


DEFIANCE. 
lstto  2dto  1st  up.  to  2d 


THE 


thus 


THE  CAUSE  FOREVER. 

-o   1st  up. 

3d  to  1st  to  2d^*  Spiral. 
9      *      &  L.  3d  1.  back 

-(Dy         thus 


3.    TAKE  MY  SOUL  IN  THY  KEEPING. 

Subjects  —  THE  SOUL'S  AWAKENING.    SUPPEESSED  SUSPENSE.    MY 
SOUL  IN  THY  KEEPING. 


. 

Begin  the  Spiral  Motion  of  the  body  with  arm  movements  to  1st 
Attitude  (accented)  ;  this  is  an  Arch  (outward)  Attitude  (f  front 
view)  facing  right.  Eecover  (body  natural)  and  at  same  time  about 
face  (to  left)  ;  pass  arms  through  next  positions  and  assume  the 
2d  Attitude,  by  covering  the  face,  swaying  the  body  back  and  forth. 
Now  recover  (body  natural)  and  start  the  arm  movements  with  a 
Spiral  Motion  of  the  body  to  the  4th  Attitude  ;  this  is  an  Arch 
(outward)  Attitude,  (f  front  view,)  facing  left.  Now  slowly  slide 
right  foot  backward  and  kneel  (eyes  looking  up.)  Repeat  by  rising 
and  blending  in  the  first  Attitude,  face  left,  etc.  Do  4  times.  Use 
an  appropriate  hymn  and  sway  to  its  rhythm. 


4.     THE  WARRIOB. 

Subjects — DETERMINATION.      DEFIANCE.      THE  SWORD.      THE 
CAUSE  FOREVER. 


t 


Start  from  standing  poise,  step  forward  on  right  (weight  on  right 
foot,)  moving  arms  through  positions  to  1st  Attitude ;  this  is  a 
Straight  (forward  knee  bend)  Attitude,  accented  and  f  front  view, 
with  hands  clinched  and  "  Determination  "  expressed  in  every  feature. 
Recover  (body  natural)  and  blend  arms  through  next  positions,  and 
when  at  1st  upper  let  them  down  and  fold  them  ;  by  placing  weight 
on  left  foot  assume  2d  Attitude ;  this  is  a  Straight  (back)  Attitude, 
and  is  accented.  Next  undo  the  arms  per  arm  positions  (body  natural) 
and  continue  arm  movements  and  blending  of  body,  by  placing 
weight  on  right  foot  assume  3d  Attitude  ;  this  is  a  Straight  (forward 
knee  bend)  Attitude ;  f  front  view ;  after  leaving  2d  posi- 
tion have  the  right  hand  resting  on  the  hilt  of  an  imaginary  sword 
and  the  left  at  1st  upper,  completing  the  picture.  Finally  you  recover 
and  do  a  purely  Spiral  Motion  of  the  body  and  arms,  the  right  hand 
leads  and  denotes  the  waving  of  the  drawn  sword.  Count  to  accent 
4,  hold  accent  4  ;  same  count  until  finished.  Repeat  entire  4  times. 
Slow  gavotte  music. 


EXERCISE  No.  5.  THE  PLEA. 

Subjects— SORROW.    A  PLEA.     DIVINE  SUPPLICATION.     PRAYER 

AND  RESIGNATION. 
SORROW.  A  PLEA.       DIVINE  SUPPLICATION" 

lst>2d>L  fee      ^  3d'  lst>  2d>2dfrt^3d>  lst>  2d> 


thus 


PRAYER  AND 

Cross  bands  over  cb 
Body  Spiral 


thus 


EESIGNATON 

Slowly  kneel 

slide  left 

foot  back. 


:Ht 


thus 


Relaxation  of 

Head,  Arms 

and  Body. 


EXERCISE  No.  6.  AN  ALLEGORY. 

Subjects — ATTENTION.  TELLING  A  MULTITUDE.  THERE  AP- 
PEARED AND  WAS  SEEN  A  VISION.  SURPRISE.  OF 
ONE  ON  HIGH.  I  ONLY  A  MORTAL. 


ATTENTION. 


1st  to 


R.  2d  frt. 
L.  to  3d  1. 


thus 


TELLING  A 

MULTITUDE. 
front  to  2d  to  3d 


thus 


THERE  APPEARED  AND  WAS  SEEN  A  VISION. 


SURPRISE. 


1st  to  2d  to 


R.toface 


R.  3d  Point. 


L.to3dl>vJ^L.  1st  upper 

thus       (fU  thus 

jL'Vy 
OF  ONE  ON  HIGH. 


3d  to  1st  to  2d  to  ?' 3d , .    . 
L.  1st  up.  Spiral 


thus 

i     \ 

I  ONLY  A  MORTAL. 
L.  to  2d  to  1st 


thus 


t 


thus 


90 


5.    THE  PLEA. 

Subjects  —  SORROW.    A  PLEA.    DIVINE  SUPPLICATION.    PRAYER 
AND  RESIGNATION. 


Start  by  placing  weight  on  left  foot  behind,  pass  arms  through  arm 
positions  and  assume  1st  Attitude;  this  is  an  Arch  (inward  knee 
bend)  Attitude  and  is  accented.  Next  recover  position,  pass- 
ing arms  through  the  position  per  cut,  and  by  the  head  action 
assume  2d  Attitude  (weight  on  right  foot)  and  accent  it  strongly  by 
an  inward  emotion  of  pleading.  Now  the  arms  move  to  3d  and  1st 
positions,  the  body  at  same  time  sinking  in  order  to  execute  a  Spiral 
Motion  to  assume  3d  Attitude,  (weight  on  right  foot)  eyes  looking  up  • 
this  is  an  Arch  (outward)  Attitude,  and  is  accented.  Next  hold  this 
Attitude,  let  hands  down  and  cross  them  over  breast  (eyes  looking 
up,)  slowly  kneel  by  sliding  left  foot  back  ;  when  kneeling  lean 
back.  The  last  is  a  collapse  by  relaxing  every  muscle  and  drooping 
forward.  Count  4  to  accent,  hold  accent  4  ;  same  count  until  finished. 
Repeat  4  times.  Slow  gavotte  music. 

6.    AN  ALLEGORY. 
Subjects  —  ATTENTION.      TELLING  A  MULTITUDE.      THERE  AP- 

PEARED AND  WAS  SEEN  A  VISION.       SURPRISE.       OF  ONE 
ON   HIGH.      I   ONLY   A   MORTAL. 


Begin  with  1st  Attitude  which  is  a  Straight  (forward)  Attitude 
weight  on  right  foot.  The  action  of  impressively  raising  the  right 
arm  and  straightening  of  fingers  should,  with  a  proper  flow  of  Mag- 
netism (through  the  fingers)  express  this  1st  Attitude.  Now  follow 
arm  movements  and  transfer  weight  to  left  foot,  (lean  back)  and  ex- 
press by  the  action  of  head  and  sweep  of  the  arms  the  2d  Attitude  ; 
this  is  a  Straight  (back)  Attitude,  accented.  Recover  (body  natural) 
and  pass  arms  through  positions,  blend  the  body  to  the  3d  Attitude, 
which  is  a  Straight  (right  side  knee  bend)  Attitude,  accented,  with 
the  hand  shading  the  eye.  Now  keep  this  same  Attitude  and  point 
right  hand,  the  left  going  to  1st  upper,  making  the  4th  Attitude. 
Next  blend  arms  and  body  to  5th  Attitude  "Surprise"  by  placing 
weight  on  left  foot  behind  ;  this  is  a  Straight  (back  knee  bend)  Atti- 
tude. Recover  and  with  arm  position  and  body  do  a  Spiral  Motion 
(left  hand  leading)  assume  6th  Attitude.  The  last  is  an  entire  col- 
lapse or  relaxation  per  illustration.  Count  4  to  accent,  hold  accent  4  ; 
same  count  until  finished.  Repeat,  starting  with  left  hand.  Slow 
gavotte  music. 


EXERCISE  No.  7. 

THE  ARABESQUES.— From  Mercury  Balance  Poise. 
Body  in  Arch  (left)  Attitude,  finishing  in  Arch  (right)  Attitude. 
Arm  positions. 

2d  to  1st  to  3d  to  1st  upper  to  3d  to  1st  to  2d  to  R.  1st  upper 

L.  3d  lower 


thus 


Body  in  Arch  (right)  Attitude,  finishing  in  Arch  (left)  Attitude. 
Arm  positions. 

lstup.to2dtolstto3dtolstup.to3dtolstto2d,R.3dl. 

L.  1st  up 


thus 


7.    THE  ARABESQUES. 

Assume  1st  arm  positions,  with  an  Arch  (left  side)  Attitude,  same 
time  doing  arm  movements  per  cut ;  at  3d  position  body  blending 
through  natural  body  poise  to  an  Arch  (right  side)  Attitude,  and 
assume  Mercury  poise,  per  illustration.  Continue  with  body  in  this 
Arch  Attitude  (the  face  to  front)  and  pass  arms  through  positions  per 
cut  until  3d  position,  here  blend  body  through  natural  poise  to  an 
Arch  (left  side)  Attitude,  and  assume  Mercury  Poise  per  2d  illustra- 
tion. These  movements  are  a  continuous  blending  and  held  only  at 
accents.  To  continue  from  last  Attitude  the  lower  hand  is  passed  to 
1st  upper  as  per  cut ;  from  this  position  return  to  beginning,  repeat 
entire,  making  one  continuous  blending.  Observe  Law  of  Head  and 
body  facing  front.  This  exercise  embraces  the  Spiral  Motion  with 
Arch  poising  and  presents  this  outline  from  any  view.  Do  4  times 
through.  Use  64  bars  slow  gavotte  music. 


SEVEN  LAWS  FOR  THE  CURVED  LINES. 

1.     THE  PALM  OF  HANDS. 

In  Curved  Lines  the  palm  always  turns  at  3rd  position, — down, 
when  going  downward,  and  up,  when  going  upward. 

2.  THE  EYES. 

The  eyes  always  follow  the  hand  or  hands,  when  they  go  above  the 
line  of  vision.  The  eye  always  follows  the  highest  hand. 

3.  THE  HEAD. 

The  head  is  always  away  from  the  raised  hand  (in  the  study  of 
Grace,)  and  the  head  is  in  harmony  with  the  active  foot,  (not  the 
standing  foot.)  See  Laws  of  Opposition. 

4.     THE  BALANCE  POSITION. 

The  hands,  just  before  the  finish  of  the  movement  must  come  to  a 
Balance  Position,  before  going  to  a  finish  or  end  position.  To 
change  the  movement  to  opposite  side,  be  sure  the  hands  come  to  a 
Balance  Position  before  starting  again.  Any  position,  where  the 
hands  are  in  the  same  position,  is  a  Balance  Position.  The  blending 
of  one  movement  into  another  is  thus  established. 

5.     GRACE  OF  MOVEMENT. 

Positions  that  start  at  1st  position  are  given  a  better  touch  of 
Grace  to  start  at  3d  lower  and  then  to  1st  position. 

6.     COUNTER  POISE  OF  ARMS. 

Counter  poise  of  the  arms  or  hand,  is  a  balance  in  a  diagonal 
line  ;  the  hands  doing  same  should  never  droop. 

7.     THE  MENTAL  EXPRESSION  OF  THE  ARM.  • 

The  thought  expressed  by  the  mind  is  usually  directed  to  the 
mental  of  the  arm  which  is  the  hand  ;  therefore,  the  fingers  and  hand 
should  give  the  intelligence  of  the  movement. 


FLEXIBILITY. 


FLEXIBILITY. 


1.     Flexibility  is  an  emotional  adjunct.     Emotion  does  not  exist 
without  flexibility. 


2.     FLEXING. 

It  is  well  to  do  the  Flexing  movements  in  a  rotary  manner,  to 
inculcate  a  curve,  but  it  is  not  necessary. 


3.     THE  LAW. 

The  law  for  Flexing  is  to  withdraw  the  will  power  or  mental  thought 
of  strength  from  the  part  being  flexed. 


4.    CONTROL  OF  SEPARATE  PARTS. 

The  use  of  Flexibility  or  Relaxation  of  the  different  parts  sepa- 
rately is  to  have  such  control  of  these  parts,  that  no  one  part  will 
ever  do  the  natural  work  of  any  other. 


5.    VITAL  FORCE. 

The  saving  of  vital  force,  or  ease  of  motion  is  the  perfection  of 
using  only  such  muscles  as  are  required  to  execute  such  a  motion, 
leaving  those  not  necessary  in  repose.  This  is  understood  as  "  no 
waste"  of  vital  force. 


6.    RELAXATION. 

Relaxation  is  rest,  or  release  of  tension.  The  relaxation  of  sleep 
restores  those  nervous  forces,  which  are  overtaxed  during  the  waking 
hours.  Physical  exercise  should  not  be  continued,  so  as  to  overtax 
the  strength. 

7.     RELAXATION  IN  FALLING. 

Flexing  in  Falling  is  one  of  nature's  best  tonics  or  invigorators  for 
sluggish  minds,  as  the  reaction  after  Flexing  is  one  of  buoyancy  of 
body  and  activity  of  mind.  In  the  Falling  Exercise  the  Relaxation 
starts  at  the  base  and  the  muscles  relax  upward  as  the  body  sinks  to 
the  ground.  The  position  after  falling  should  be — the  top  foot 
extended  and  the  under  foot  crossed  ;  so  when  rising  the  under  hand 
is  only  used  to  assist  in  rising  to  a  knee  position  (of  the  under  foot.) 
From  there,  to  an  upright  position,  is  simply  rising. 


FLEXING  EXERCISES. 


1st  EXERCISE 
FLEX  HANDS  FROM  WRIST. 


2d  EXERCISE 
FLEX  FOREARMS 
FROM  ELBOW 


4th  EXJ5RC1SE 
FLEX  FOOT 
FROM  .ANKLE 


3d  EXERCISE 

FLEX  ARM 
FROM  SHOULDER, 


5th  EXBKCISB 

FLEX  SHANK   AND  F001 

FROM   KNKh 


6th  EXBKCISE 
FLEX  LEG 
FROM  HIP. 


7ih  EXERCISE 

FLKX   F.NTIRE 

BODY. 


EXPLANATION. 

1.     FLEX  HANDS  FEOM  WRIST. 

Assume  position  of  hands  as  per  cut,  drooping  them  loosely  from 
wrist,  and  shake  (or  what  is  here  called  flexing)  them.  The  will 
power  is  withdrawn  from  the  parts  being  flexed.  Use  16  bars 
of  tremulo  music. 

2.     FLEX  FORE-ARMS  FROM  ELBOW. 

Assume  position  of  fore-arms  as  per  cut,  drooping  them  loosely 
from  elbow  and  flex  them.  Same  action  as  No.  1.  Same  music. 

3.     FLEX  ARM  FROM  SHOULDER. 

Assume  position  of  right  arm  as  per  cut,  drooping  loosely  from 
shoulder  and  flex  it.  Same  action  as  No.  1.  Repeat  with  left  arm. 
Same  music  as  No.  1  for  each  arm. 

4.     FLEX  FOOT  FROM  ANKLE. 

Assume  position  of  right  foot  as  per  cut,  drooping  loosely  from 
ankle  and  flex  it.  Same  action  as  No.  1.  Repeat  with  left  foot. 
Same  music  as  No.  1  for  each  foot. 

5.     FLEX  SHANK  AND  FOOT  FROM  KNEE. 

Assume  position  of  shank  and  foot  as  per  cut,  drooping  loosely 
from  knee  and  flex  it.  Same  action  as  No.  1.  Repeat  with  left  foot. 
Same  music  as  No.  1  for  each. 

6.     FLEX  LEG  FROM  HIP. 

Assume  position  of  right  leg  as  per  cut,  drooping  loosely  from  hip 
and  flex  it.  Same  action  as  No.  1.  Repeat  with  left  leg.  Same 
music  as  No.  1  for  each  leg. 

7.     FLEX  ENTIRE  BODY. 

Simply  withdraw  will  power  from  the  entire  body  and  shake  your- 
self until  you  are  limber  all  over,  so  that  the  resistance  of  any  muscle 
has  been  eliminated.  Same  music,  16  bars. 


RELAXATION 

EXERCISES. 


1st  EXEBCISB 

THB  ARMS 

(PERPENDICULAR) 


4th  EXERCISE 

THE  SHOULDEBS 

(BREATHING— COMFORT.) 


5th  EXERCISE 

THE  NECK 
(FLEXIBILITY  ) 


6th  KXERC1SK 
RESTING 
SLKBP 


'th  EXERCISE 

FALLING 
RECLINING 


100 


EXPLANATION. 

1.    THE  ARMS.    (PERPENDICULAR.) 

Assume  position  as  per  cut  by  slowly  raising  right  arm  to  1st  upper 
and  suddenly  withdraw  will  power  of  arm,  allowing  it  to  drop  as  if 
disjointed.  To  do  this  relax  the  shoulder  to  elbow,  then  wrist,  in 
quick  succession.  The  arm  should  pass  close  to  the  body.  Repeat 
with  left  arm.  Repeat  with  both  arms.  Do  each  two  times.  Count 
to  assume  position  6,  and  drop  7,  8.  Slow  schottische  time. 

2.     THE  ARMS.     (HORIZONTAL.) 

Assume  position  as  per  cut  by  slowly  raising  arms  to  3d  position, 
and  suddenly  withdraw  will  power  of  the  arms,  leaving  them  drop. 
Relax  all  parts  of  the  arms  at  same  time.  Same  music  and  count  as 
No.  1.  Repeat  4  times. 

3.     THE  LEG. 

Assume  position  as  per  cut  by  slowly  raising  right  leg  and  sud- 
denly withdraw  will  power,  let  it  drop.  Repeat  with  left  leg.  Do 
four  times  each  leg.  Count  to  raise  3,  and  drop  on  4th  count ;  now 
rest  4  counts.  Slow  schottische  music. 

4.  THE  SHOULDERS.  (BREATHING-COMFORT.) 
Place  hands  lightly  on  chest  and  inhale  (expand  chest.)  Now 
slowly  exhale,  drop  hands,  and  release  the  tension  of  shoulders  and 
"  set  "  them  by  relaxation  until  there  is  a  feeling  of  comfort  in  the 
shoulders.  This  shoulder  adjustment  is  a  very  important  movement 
for  the  gravity  of  the  body  in  any  poise.  This  exercise  is  for  relax- 
ation of  shoulders  and  chest  expansion.  Repeat  4  times.  Gavotte 

music.      For  Breathing  Exercise,  see  1J5,  page  31. 

5.    NECK.     (FLEXIBILITY.) 

Relaxation  of  neck  is  the  same  as  Neck  Exercise  in  physical 
corrections.  Drop  head  in  front  and  let  it  dreamily  circle  on  an 
imaginary  axis.  Repeat  three  times  each  way.  Slow  waltz  music. 

6.     RESTING  SLEEP. 

Standing  position.  Close  the  eyes  and  breathe  regularly,  releasing 
the  tension  of  every  muscle.  Thus  the  will  controls  relaxation  and 
in  time  would  force  sleep.  This  exercise  requires  the  relaxation  of 
the  Mental  Forces  as  well  as  the  Physical.  It  will  act  as  a  tonic  at 
any  time  for  exhausted  nerve  force,  replenishing  the  waste  at  once. 
Use  low  music.  Do  the  same  at  2  minute  intervals. 

7.     FALLING  AND  RECLINING. 

Start  at  standing  poise,  with  relaxations  of  muscles  under  control 
of  will.  Slowly  kneel  down  and  extend  right  foot  as  per  cut,  and 
gradually  lie  down  as  per  cut,  (dotted  line.)  The  under  foot  is 
crossed  when  down.  To  arise  turn  over  on  left  side,  place  palm  of 
left  hand  on  floor,  rise  to  a  kneeling  position,  then  to  an  upright  one. 
Now  repeat,  kneel  and  extend  left  foot.  This  exercise  is  prepara- 
tory to  Falling  Exercise  which  follows  on  next  page.  Repeat  four 
times.  Use  tremulo  music. 

101 


FALLING 
EXERCISES 


3d  EXERCISE 
FALL  FORWARD  FROM 
STANDING  POSITION 


7th  EXERCISE 

THE 
COMPLETE  SINKING 


EXPLANATION. 

1.    FALL  FROM  KNEE. 

Kneel  and  assume  position  as  per  cut,  and  relax  in  quick  succession 
from  knee  to  hip,  to  shoulder,  to  head  and  entire  arm,  and  fall  per 
dotted  outline  in  cut.  The  resistance  power  should  be  withdrawn 
from  each  part  as  the  body  drops,  and  is  one  of  the  easiest  exercises, 
if  the  will  controls  the  relaxation ;  (see  Flexing  Exercises.)  Always 
fall  suddenly  as  if  shot.  Kise  and  repeat  to  left.  Do  4  times.  Hold 
or  rise  to  position,  count  6,  and  fall  on  count  7,  8.  When  proficient 
count  3  and  fall  on  4th  count.  Gavotte  music. 

2.    FALL  FROM  STANDING  POSITION. 

Assume  attitude  as  per  cut,  with  weight  of  body  on  right  foot. 
Now  relax  in  quick  succession  (as  the  body  drops)  from  ankle  to 
knee,  to  hip  to  shoulder,  to  head  to  arms,  and  fall  to  right  per  dotted 
outline.  Same  principle  as  No.  1.  Kise,  per  No.  7,  (page  101,)  and 
repeat,  fall  to  left.  Same  count  and  music  as  No.  1.  NOTE: — If 
timidity  is  shown  two  persons  can  join  hands  and  fall  alternately,  the 
one  assisting  the  other  when  falling. 

3.  FALL  FORWARD  FROM  STANDING  POSITION. 
Assume  attitude  as  per  cut  with  weight  of  body  on  front  ( right ) 
foot.  Now  relax  in  quick  succession  (as  the  body  drops)  from  ankle 
to  knee,  to  hip  to  chest,  to  head  to  arms,  and  fall  forward,  per  dotted 
outline.  To  rise,  turn  on  left  side,  and  arise  per  No.  7,  (page  101.)  Same 
count  as  No.  1.  Same  principle  and  same  music  as  No.  1. 

4.     FALL  BACKWARD  FROM  STANDING  POSITION. 

Assume  attitude  as  per  cut  with  weight  of  body  on  back  (left)  foot. 
Now  relax  same  as  No.  3  and  fall  backward  per  dotted  outline. 
Recover  same  as  No.  3.  Same  principle,  same  count,  same  music  as 
No.  1. 

5.     PIROUETTE  AND  FALL. 

This  is  to  Pirouette  to  right  and  then  fall  to  the  right.  To 
Pirouette  is  to  step  to  right,  cross  left  toe  over  right  foot,  turn 
yourself  around ;  then  fall  same  as  No.  2,  or  per  dotted  out- 
line. Eise  per  No.  7,  (page  101,)  and  repeat  entire  to  left.  Count  2 
bars  to  Pirouette ;  2  bars  to  fall,  and  4  to  recover  to  standing 
position.  Waltz  music.  If  possible,  use  arm  movement  in  Pirouette. 
Do  four  times  each. 

6.     PIROUETTE  FALL,  CONTINUOUS. 

Pirouette  to  right  and  then  immediately  fall  to  right  by  letting 
right  foot  slide  underneath  you — the  entire  body  relaxing  instantly. 
Rise  instantly  and  Pirouette  to  left  and  fall.  Do  alternate — continuous. 
Count  1,  2,  3  to  Pirouette,  and  1,  2,  3  to  fall  and  rise.  Polka  time. 
This  exercise,  if  executed  correctly,  shows  perfection  of  Flexibility  and 
Relaxation. 

7.    THE  COMPLETE  SINKING. 

Standing  position.  Do  Flexibility  Exercise  7,  (page  99.)  Tremulo 
of  whole  body  and  collapse  gradually  down  as  per  outline  in  cut. 
Tremulo  music.  Do  four  times. 

103 


ATTITUDES. 


ATTITUDES. 


An  Attitude  is  the  body  posed  or  poised  in  any  position.  To 
pose  the  body  in  an  Attitude  is  to  assume  any  stationary  posture. 
Poise  of  the  body  or  parts  of  the  body  is  to  assume  any  balance 
Attitude  wherein  the  laws  of  opposition  are  observed. 


In  the  Straight  Attitudes  the  mental  predominates  ;  in  the  Arch 
Attitudes  the  emotional  predominates  ;  in  the  Bending  Attitudes  the 
physical  predominates.  When  the  intent  is  combined  with  these 
Attitudes  of  the  body,  the  mental,  emotional  or  physical  may  relate 
to  Gravity,  Flexibility  or  Force ;  or  to  the  Mind,  Soul  and  Body. 


The  Study  of  Grace  in  Attitudes  is  the  continuous  blending  of  one 
Attitude  into  another.  An  Attitude  reaches  its  proper  Law  of  Op- 
position and  Harmony  at  the  accented  period,  or  when  it  is  stationary 
for  the  time  being. 


106 


ATTITUDES. 

Consist  of  1.     Straight  Attitudes — Mental — Gravity. 

2.  Arch  Attitudes — Emotional — Flexibility. 

3.  Bending  Attitudes — Physical — Force. 

DERIVATIONS. 

4.  Knee  Bend  Attitudes. 

5.  Beyond  the  Base  Line. 

6.  Kneeling  and  Lying. 

7.  Poise. 


107 


STRAIGHT  ATTITUDES. 


No.  1. 
STRAIGHT  (standing)  ATTITUDE. 

Stand  perfectly  erect.  Weight 
on  both  feet.  Arms  in  3d  posi- 
tion. 


STRAIGHT  (right) 

ATTITUDE. 

Incline  the  body 
straight  to  the  right. 
Weight  on  right  foot. 
Arms  in  3d  position. 


STRAIGHT  (left) 

ATTITUDE. 

Incline  the  body 
straight  to  the  left. 
Weight  on  left  foot. 
Arms  in  3d  position. 


No.  5. 

STRAIGHT  (back) 
ATTITUDE. 
Incline  the  body 
straightback.  Weight 
on  rear  foot.     Arms 
in  3d  position. 


No.  4. 

STRAIGHT  (forward) 
ATTITUDE. 

Incline  the  body 
straight  forward. 
Weight  on  forward 
foot.  Arms  in  3d 
position. 

Execute  Nos.  4  and  5,  at  a  f  angle  front  view. 

PRACTICE. 

Arm  Movements  No.  1.     The  Harmonic  Three  (Circle  Series,  pg.  70) 

with  Attitudes  Nos.  2  and  3. 

Arm  Movements  No.  2.     The  Complete  Circle  (Circle  Series,  pg.  70) 

with  Attitudes  Nos.  4  and  5. 

Arm  Movements  No.  3.     The  Alternate  Exercise  (Circle  Series,  pg.  70) 

with  Attitudes  Nos.  2,  3,  5  and  4. 

Do  the  above  continuous,  blend  from  one  Attitude  to  the  other ; 
using  Arm  Movements  at  same  time.  At  last  Attitude  (No.  4)  bring 
arms  to  3d  position  then  to  1st  position.  Gavotte  music. 

108 


EXPLANATION. 

Assume  each  Attitude  in  the  order  given  until  familiar  with  them. 
Observe  laws  of  carriage  of  the  body  and  rules  here  given  to  assume 
Straight  Attitudes. 

The  Straight  Attitudes  are  so  named  because  the  body  is  in  a 
straight  line  from  base  to  head,  either  erect  or  inclined. 

The  3d  arm  or  balance  position  is  a  beneficial  arm  movement  to 
use  in  conjunction  with  assuming  these  Straight  Attitudes. 

The  weight  of  the  body  should  always  be  on  the  outside  foot ;  the 
other  foot  just  far  enough  away  to  secure  a  perfect  equilibrium.  To 
illustrate  :  in  the  Straight  (right)  Attitude  the  weight  is  on  the  right 
foot;  Straight  (left)  Attitude,  weight  is  on  left  foot ;  Straight  (for- 
ward) Attitude,  weight  is  on  forward  foot ;  Straight  (back)  Attitude, 
weight  is  on  rear  foot.  (See  Heel,  page  26.) 

The  Straight  (standing),  Straight  (forward)  and  Straight  (back) 
Attitudes,  may  be  assumed  at  an  angle  £  view  front,  which  increases 
their  effectiveness  and  should  be  assumed  whenever  possible. 

The  arm  movements  retain  their  same  position  at  the  same  angle  or 
bend,  that  the  body  assumes  in  any  Attitude,  which  establishes  a 
Harmony  and  Opposition  of  the  head  and  acting  foot  and  waist.  (See 
study  of  Harmony  and  Opposition.) 

The  foundation  of  Gravity  of  Poise  is  fully  established  in  Straight 
Attitudes  ;  i.  e.  the  gravity  line  from  neck  to  heel  of  standing  foot. 


109 


ARCH  ATTITUDES. 


No.  1. 

ARCH  (right) 

ATTITUDE. 

Assume  an  Arch  of 
the  body  with  the 
right  side,  (per  cut.) 
Face  and  body  front 
view.  Weight  on 
right  foot.  Arms  in 
1st  upper  position. 


No.  2. 

ARCH  (left) 

ATTITUDE. 

Assume  an  Arch  of 
the  body  with  the  left 
side,  (per  cut.)  Face 
and  body  front  view. 
Weight  on  left  foot. 
Arms  in  1st  upper 
position. 


No.  3. 

ARCH  (outward) 

ATTITUDE. 


Assume  an  Arch  of  the 
body  outward  (back  con- 
cave.) Weight  on  for- 
ward foot.  Face  and 
body  front  view.  Arms 
^  in  1st  upper  position. 


No.  4. 

ARCH  (inward) 

ATTITUDE. 


Assume  an  Arch  of  the 
body  inward  (back  con- 
vex.) Weight  on  rear 
Lfoot.  Face  and  body 
front  view.  Arms  in  1st 
upper  position. 


Execute  Xos.  3  and  4  at  a  I  angle  front  view. 


PRACTICE. 

Arm  Movements  Xo.  2.     The  Complete  Circle  (Circle  Series  pg.  70) 

with  Attitudes  Xos.  1  and  2. 

Arm  Movements  Xo.  3.     The  Alternate  Exercise  (Circle  Series  pg.  70) 

with  Attitudes  XTos.  1  and  2. 

Arm  Movements  Xo.  2.     The  Complete  Circle  (Circle  Series  pg.  70) 

with  Attitudes  Xos.  3  and  4. 

Do  the  above  continuous,  blend  from  one  Attitude  to  the  other  ; 
using  Arm  Movements  at  same  time.     Gavotte  Music. 


110 


EXPLANATION. 

Assume  each  Attitude  in  the  order  given  until  familiar  with  them. 
Observe  laws  of  carriage  of  the  body  and  rales  here  given  to  assume 
Arch  Attitudes. 

The  Arch  if  continued  would  form  part  of  a  circle  from  base  to 
top ;  that  is  from  standing  heel  along  the  outside  of  Arch  to  the 
highest  hand  or  hands. 

The  1st  position  upper  is  a  beneficial  arm  movement  to  use  in 
conjunction  with  Arch  posing. 

In  executing  an  Arch  pose  the  weight  of  the  body  should  be  on 
the  outside  of  the  Arch ;  that  is — Arch  (right)  Attitude,  the  weight 
is  on  right  foot,  etc.,  the  same  as  in  Straight  Attitudes.  The  face 
and  entire  body  presenting  a  front  view. 

In  the  study  of  Harmony  and  Opposition,  the  head  is  in  harmony 
with  the  acting  foot ;  not  the  standing  foot.  The  waist  is  opposed  at 
any  point  (around  the  waist)  where  this  harmony  is  established.  The 
head  is  then  in  opposition  to  the  highest  hand,  i.  e.  inclined  from  the 
high  hand. 

The  outward  and  inward  Arch  Attitudes  may  be  assumed  at  an 
angle  |  view  front,  giving  them  a  dramatic  effect,  and  should  be 
assumed  whenever  possible. 

Flexibility  is  necessary  to  the  perfection  of  Arch  posing.  Har- 
mony of  poise  of  the  outside  muscles  of  the  Arch  will  give  correct 
curves.  Practice  before  a  glass  will  be  of  great  assistance. 


ill 


BENDINGS. 

Consist  of  Knee  Bends  with  Straight  Attitudes. 
Knee  Bends  with  Arch  Attitudes. 
Spinal  Column  (bend)  Attitudes. 

STRAIGHT  (knee  bend)  ATTITUDES  apply  to  all  Straight  Attitudes 
(page  108.)  They  are  similar,  with  this  addition — the  knee  of  the 
standing  foot  is  bent.  In  Knee  Bend  Attitudes  the  weight  of  the 
body  is  nearly  equal  on  both  feet,  but  stronger  on  the  leg  of  which 
the  knee  is  bent. 


ARCH  (knee  bend)  ATTITUDES  apply  to  all  Arch  Attitudes,  giving 
the  inward  and  outward  Arch  Attitudes  a  special  significance.  These 
Attitudes  are  the  same  as  Arch  Attitudes  (page  110)  having  this  ad- 
dition— the  knee  of  the  standing  foot  is  bent.  The  weight  of  the 
body  is  the  same  as  in  Straight  Attitudes. 


SPIXAL  COLUMN  (bend)  ATTITUDES  are  Straight  Attitudes  bending 
the  body  backward.  The  weight  of  the  body  is  on  rear  foot,  which 
forms  the  base. 


EXEMPLIFICATION. 
STRAIGHT  (forward  knee  bend)  ATTITUDE. 


This  is  simply  a  Straight  (forward)  Attitude  with  knee  of  rear  leg 
bent.  The  arm  positions  are — right  arm  1st  upper,  left  arm 
is  a  counter  poise  3d  lower  behind.  The  counter  part  of  this 
Attitude  is  a  Straight  (back  knee  bend)  Attitude.  The  sense  in 
either  is  that  of  an  heroic  order,  such  as  "  defiance,"  "the  onslaught," 
"lead  on,"  "  away  to  war,"  "to  God  above,"  "justice,"  "right- 
eousness," and  similar  subjects.  The  weight  of  the  body  is  nearly 
divided  on  both  feet  with  a  stronger  inclination  on  the  bending  leg. 


ARCH  (inward  knee  bend)  ATTITUDE. 
f  front  view. 


This  is  an  Arch  (inward)  Attitude,  with  the  addition  of  the  knee 
bent  of  the  outside  leg  of  the  Arch,  which  is  the  rear  foot.  This 
Attitude  is  usually  executed  at  an  angle  £  view  front.  The  sense 
that  is  expressed  in  this  Attitude  is  "  sorrow,"  "  fear,"  "  horror," 
"  cowardice,"  "  curiosity,"  and  kindred  subjects.  The  facial  expres- 
sion with  the  arm  and  head  movements  denote  the  emotion  intended. 


SPINAL  COLUMN  (bend)  ATTITUDE. 
Beyond  the  Base  Line. 


This  is  a  side  view  of  the  body.  When  this  Attitude  has  been 
assumed,  the  view  is  of  the  right  side  and  face  is  to  right.  The  feet 
are  separated,  the  thighs  are  braced,  and  the  body  assumes  a  spiral 
bend  over  the  right  side  beyond  the  base  line,  so  the  eyes  can  see  the 
heel  of  the  left  foot.  Weight  is  nearly  divided,  but  stronger  on  left 
foot.  The  intent  here  shows  strength.  (For  base  line  see  Laws  of 
Gravity.) 

113 


STRAIGHT  (knee  bend)  ATTITUDES. 

Assume  these  Attitudes  iu  the  order  given  until  familiar  with  them. 


No.  1. 

STRAIGHT  (knee  bend) 
ATTITUDE. 

Assume  a  Straight  Attitude 
and  bend  both  knees.  Arms 
in  3d  position. 


No.  3. 

STRAIGHT 

(left  knee  bend) 

ATTITUDE. 
Assume  a  Straight 
(leftside)  Attitude 
and  bend  left  knee; 
body   front  view. 
^  Arms  in  3d  posi- 
c:  tion. 


No.  2. 

STRAIGHT 
(right  knee  bend) 

ATTITUDE. 
Assume  a  Straight 
(right  side)  Atti- 
tude and  bend 
right  knee  ;  body 
front  view.  Arms 
in  3d  position. 


No.  4. 

STRAIGHT 

(forward  knee  bend) 

ATTITUDE. 
Assume  a  Straight 
(forward)   Attitude 
and     bend     forward 
$"  knee ;     body     front 
~  view.      Arms   in  3d 
position. 


Execute  X"os.  4  and  5  at  a  f  front 


No.  5. 

STRAIGHT 

(back  knee  bend) 

ATTITUDE. 
Assume  a  Straight 
(back)  Attitude  and 
bend  back  knee;  body 
front  view.  Arms  in 
3d  position. 

view. 


PRACTICE. 

Physical  Corrections,  sinking  and  rising  (VII.  Xo.  2,  page  25)  with 
Attitude  Xo.  1. 

Exercise  Xo.  3.  The  Wave  Lines  (Wave  Series  page  76)  with  Atti- 
tudes Xos.  2  and  3. 

Exercise  Xo.  4.  The  Warrior  (Spiral  Series  page  88)  with  Atti- 
tudes Xos.  4  and  5. 

Do  the  above  continuous,  blend  from  one  Attitude  to  the  other  ; 
using  at  same  time  the  proper  action  and  Arm  Movements.  Gavotte 
music. 

114 


EXPLANATION. 

In  the  study  of  Physical  Corrections  (page  17,)  will  be  found  the 
study  of  the  Knee  (sinking  and  rising.)  The  bend  of  the  knee  with 
Attitudes  is  used  to  obtain  the  Spiral  Motion  of  the  body.  In  sta- 
tionary positions  the  knee  bend  adds  strength  to  the  Attitude. 


The  leg  is  the  organ  of  locomotion  and  seat  of  physical  strength 
(see  the  Elements  of  Man.)  The  spiral  movements  start  from  the 
bending  of  the  knee  and  relate  to  Force ;  therefore  the  knee  bends 
give  the  Attitudes  force  and  strength. 


In  the  study  of  the  Triune  of  Attitudes,  the  Straight  Attitudes 
relate  to  the  mental,  the  Arch  Attitudes  to  the  emotional  elements 
(being  curved)  ;  the  knee  bend  added  to  them  completes  the  trinity 
of  elements — which  gives  them  physical  strength  or  power. 


NOTE. — In  the  Study  of  Attitudes  the  basic  law  of  the  trinity  has  been 
followed  and  is  shown  from  different  standpoints.  The  division  of  seven 
has  not  been  followed  in  this  instance,  for  reasons  of  imparting  the  study 
as  easily  as  possible  ;  but  for  the  critical  student  the  proper  divisions  are 
given.  In  Straight  Attitudes  5  are  shown,  Nos.  4  and  5  are  again  executed 
in  oblique  formation,  completing  the  7  Straight  Attitudes  ;  Nos.  1,  2  and  4 
being  the  trinity.  In  Arch  Attitudes  4  are  shown,  Nos.  1  and  2  of  Spinal 
Column  Attitudes,  and  No.  3  of  Beyond  Base  Line  completing  the  7. 
The  Triune  of  Arch  (knee  bend)  Attitudes  and  Spinal  Column  Attitudes 
are  illustrated.  The  Mercury  Balance  Attitude  and  Nos.  1  and  2  of  Beyond 
the  Base  Line,  also  make  a  trinity,  as  the  same  law  of  Gravity  governs 
them. 


115 


ARCH  (knee  bend)  ATTITUDES. 
Assume  these  Attitudes  in  the  order  given  until  familiar  with  them. 


ARCH  (outward  knee 
bend)  ATTITUDE. 

Assume  an  Arch  (out- 
ward) Attitude  and 
bend  forward  knee ; 
body  front  view. 
Arms  in  1st  upper 
position. 


No.  3. 

THK  COURTESY. 

See  explanation  on 

next  page. 


ARCH  (inward  knee 
bend)  ATTITUDE. 

Assume  an  Arch  (out- 
ward) Attitude  and 
bend  rear  knee;  body 
front  view.  Arms  in 
1st  upper  position. 


PRACTICE 


,   f  Exercise  No.  3  (Spiral  Series  page  88)  with  Attitudes  Nos.  1  and  2. 
"\Exercise  No.  7  (Spiral  Series  page  92)  with  Attitudes  Nos.  1  and  2. 


SPINAL  COLUMN  (bend)  ATTITUDES. 


No.  1. 

SPINAL  COLUMN 
(right  side) 
ATTITUDE. 
From  a  standing 
position    step   to 
right    and    bend 
body  back  toright 
per  cut.    Weight 
moreonriehtfoot; 
body  nearly  front 
view.      Arms   in 
1st  position  upper 


No.  -2. 

SPINAL 

COLUMN  (leftside) 

ATTITUDE. 
From  a  standing 
josition  step  to 
eft  and  bend  body 
back  to  left,  per 
cut.  Weight  more 
on  left  toot ;  body 
nearlyfrontview. 
'•  Arms  in  1st  posi- 
tion upper. 


No.  3. 

THE  COUBTEST 

See  explan- 
ation on 
next  page. 


'  Physical  Corrections  (III.  No.  2  p.  3-5)  with  Nos.  1  and  2. 
I  Physical  Corrections  (II.  No  2  p.  35)  with  Nos.  1  and  2  and 


and  Pirouette. 


BEYOND  THE  BASE  LINE  ATTITUDES. 


SIDE  ViEW(rightside) 
ATTITUDE. 

From  standing  posi- 
tion circle  left  loot 
behind  right  present- 
ing the  right  side 
view  of  the  body  as  a 
front  view ;  again 
bend  body  over  right 
side  as  per  cut ;  left 
knee  bent.  Thighs 
braced  and  weight 
nearly  equal  on  both 
feet.  Left  arm  in  1st 
upper  position  and 
^  right  as  a  counter 
poise. 


No.  3. 
THE  BACK  BEND. 


SIDE  VIEW  (leftside) 
ATTITUDE. 

From  standing  posi- 
tion circle  right  foot 
behind  left  present- 
ing the  leftside  view 
of  the  body  as  a  front 
view ;  again  bend 
over  left  side  as  per 
cut  ;  right  knee  bent. 
Thighs  braced  and 
weight  nearly  equal 
on  both  leet.  Right 
arm  in  1st  upper  posi- 
tion and  left  as  a 
counter  poise. 


From  standing  position 
step  back  with  right  foot; 
brace  yourself  by  bending 
both  knees  and  bend  back- 
ward. Use  the  bend  of  the 
neck  and  head  to  complete 
the  arching. 

f  Physical  Cor.  (III.  No.  3  p.  35)  with  Attitudes  Nos.  1  and  2. 
•  \  No.  3.  Slowly  *  pirouette,  bend  back  and  recover.  Slow  gavotte  time 


116 


EXPLANATION. 

THE  COURTESY. 

The  Courtesy  (for  ladies)  standing  position  ;  circle  right  foot  behind 
left,  assume  an  Arch  (inward)  Attitude,  sinking  well  as  per  cut, 
fingers  draping  dress ;  observe  toe  position  and  poise  of  head.  To 
recover,  rise  to  an  erect  Attitude  and  return  the  back  foot  with  a  circle 
movement  to  place.  Repeat  with  left  foot.  Execute  the  Courtesy  at 
|  view  front.  Slow  gavotte  music. 

THE  Bow. 

The  Bow  (for  gentlemen)  standing  position  ;  hands  at  side,  step  to 
right  and  place  feet  together,  same  time  face  right ;  now  bend  forward, 
allow  the  hands  to  droop  loosely  in  front,  as  per  cut.  To  recover, 
assume  erect  position,  hands  fall  to  side  and  at  the  same  time  body 
face  front.  Now  repeat  to  left.  Slow  gavotte  music. 

ARCH  (knee  bend)  ATTITUDES. 

The  peculiarities  of  the  Arch  (knee  bend)  Attitudes  are  worth 
knowing  well,  as  in  most  cases  they  denote  some  individuality  or  im- 
personation. A  technical  analysis  of  these  Attitudes  shows  that  the 
Arch  bend  consists  of  part  of  a  circle,  which  requires  flexibility  and 
the  knee  bending  adding  character  or  force  ;  further  these  Attitudes 
always  have  a  mental  meaning,  giving  to  them  an  element  of  the 
three  forces. 

SPINAL  COLUMN  BENDS. 

The  Laws  of  Gravity  (page  16)  relating  to  counter  poise  apply  to 
these  bendings.  It  is  also  well  to  read  Study  of  Spinal  Column  and 
laws  relating  to  same  (Physical  Corrections  page  38.)  In  Bendings 
the  knee,  hip,  neck  and  head  complete  the  arching. 

BEYOND  THE  BASE  LINE. 

These  Attitudes  are  Spinal  Column  Bends,  adding  the  Thigh  Brace 
(page  24,)  which  allows  the  body  to  bend  beyond  the  base  line,  and 
calls  for  the  Laws  of  Gravity  relating  to  balancing  the  body  beyond 
the  base  line. 


117 


KNEELING  ATTITUDES. 

Assume  these  Attitudes  in  the  order  given  until  familiar  with  them. 


No.  1. 
KNEELING  (front) 

ATTITUDE. 

Assume  aStraight  (for- 
ward knee  bend)  Atti- 
tude and  kneel  down. 
Arms  in  3d  position. 


No.  2. 
KNEELING  (right) 

ATTITUDE. 

Assume  a  Straight 
(right  knee  bend)  Atti- 
tude and  kneel  down  ; 
face  and  body  front  view. 
Arms  in  3d  position. 


No.  3. 
KNEELING  (left) 

ATTITUDE. 

AssumeaStraight  (left 
knee  bend)  Attitude  and 
kneel  down ;  face  and 
body  front  view.  Arms 
in  3d  position. 


RECLINING  ATTITUDES. 


No.  2. 

RECLINING  %. 
See  explanation  on  next  page. 


No.  1. 
THE  PREPARATORY. 


No.  3. 

RECLINING  %. 
See  explanation  on  next  page. 


LYING  ATTITUDES. 

No.  1.  No.  2.  No.  3. 

LYING  ON  SIDE.  LYING  ON  BACK.      LYING  ON  FACE. 


See  explanation  on  next  page. 

PRACTICE. 
Arm  Movements  No.  1.    The  Harmonic  Three  (Circle  Series  page  70)  with 

Kneeling  Attitude  No.  1. 
Arm  Movements  No.  2.    The  Complete  Circle  (Circle  Series  page  70)  with 

Kneeling  Attitude  No.  2. 
Arm  Movements  No.  5.    The  Complete  Circle  (Circle  Series  page  70)  with 

Kneeling  Attitude  No.  3. 
118 


EXPLANATION. 


KNEELING  ATTITUDES. 

The  Kneel  (front)  Attitude  may  be  executed  at  a  |  angle  front  view  ; 
also  right  side  or  left  side  view  or  leaning  backward.  The  right  or 
left  Kneel  Attitudes  are  similar  to  the  Straight  (right  or  left  side 
knee  bend)  Attitude,  only  kneeling ;  the  face  and  body  front  view. 
They  will  admit  of  all  changes  of  the  Straight  or  Arch  Attitudes ; 
starting  the  base  line  from  the  knee  on  floor  to  the  head.  Arm 
Movements  are  also  executed  with  these  Kneeling  Attitudes,  all  laws 
of  Poise,  Opposition  and  Harmony  being  observed. 


EECLINING  ATTITUDES. 

From  a  Kneeling  Attitude,  start  to  recline  as  per  cut  No.  1,  to  a 
half  Eeclining  Attitude,  allowing  the  hip  and  waist  to  rest  upon  the 
floor,  and  the  palm  of  the  under  hand  acting  as  a  support  to  that 
part  of  the  body  still  up  as  per  cut  No.  2.  In  the  next  Attitude, 
"  Reclining  },"  the  hip,  the  side  of  trunk,  and  arm  to  the  elbow  rest 
upon  the  floor,  with  hand  supporting  the  head,  and  the  top  arm  free 
as  per  cut  No.  3. 


LYING  ATTITUDES. 

In  lying  down  on  the  side,  the  under  leg  should  be  crossed  and  the 
top  leg  straight ;  this  law  applies  to  the  body  when  down  after  falling. 
The  body  is  now  prepared  to  arise  to  the  Reclining  Attitudes,  then 
to  kneeling,  then  to  rising  ;  so  perfect  a  state  may  this  practice  become 
that  not  a  single  garment  of  the  wearer  will  be  disturbed  in  falling 
or  rising.  Lying  on  back  or  face  would  only  require  turning  over 
to  a  side  position  thence  to  rising  as  just  stated. 


119 


POISE. 

1.  MEECURY  BALANCE  POISE. 

2.  AN  ARABESQUE  POISE. 

3.  POISE  OF  DIFFERENT  PARTS  OF  THE  BODY 


THE  MERCURY  BALANCE. 


In  the  Mercury  Balance,  the  body  is  poised  or  balanced  on  one 
foot,  and  well  illustrates  the  poise  of  the  body.  This  poise  can 
easily  be  accomplished  and  is  fully  explained  in  the  Study  of  Gravity, 
which  includes  the  Mercury  Balance  exercise  and  its  derivations. 


AN  ARABESQUE. 


The  Arabesque  is  an  Arch  (right  or  left  knee  bend)  Attitude,  using 
the  complete  arm  circle  movement  with  a  spiral  movement  of  the 
body ;  the  spiral  motion  occurs  at  the  change  of  Attitude  from  right 
to  left.  The  change  here  shifts  the  control  of  gravity  through  its 
various  centers  in  the  body. 

POISE  OF  DIFFERENT  PARTS  OF  THE  BODY. 

To  Poise  any  part  of  the  body  is  to  give  it  the  mental  prominence 
for  the  time  being  and  balance  such  part  by  creating  the  proper 
counter  poise,  which  in  reality  completes  the  poise  or  balancing. 
The  head,  arms  and  legs  will  permit  of  this  liberty.  Derivations 
from  these  principles  are  such  as  the  nose,  chin,  shoulders,  elbows, 
hands,  fingers,  toes,  heel,  knee  and  hip. 


120 


FORCE. 


Force  is  an  unseen  power  quite  unintelligible.  We  can  not 
imagine  it  except  through  the  instrumentality  of  matter,  which  only 
postpones  our  difficulty  so  far  as  conceivability  is  concerned.  Strange 
as  it  may  seem  we  are  equally  unable  to  grasp  its  mode  of  exercise. 
Where  there  is  life,  Force  is  there  in  a  greater  or  less  degree.  We 
say  that  as  far  as  our  consciousness  and  the  agencies  producing  the 
various  manifestations  related  thereto,  that  between  the  physical 
forces  themselves  and  the  sensations,  there  exists  a  correlation  which 
stands  in  direct  correlation  with  physical  forces  existing  externally. 
These,  of  course  are  analytical  truths,  none  of  which  will  constitute 
that  synthesis  of  thought  which  is  necessary  to  be  an  exposition  of 
the  synthesis  of  things. 


122 


FORCE. 

In  the  Study  of  the  Grace  of  Man,  the  intention  of  this  work  is 
not  to  expound  a  treatise  on  what  Force  is  composed  of  or  where  it 
may  originate,  or  what  law  governs  its  action  or  exercise.  Its 
existence  is  all  we  are  concerned  with,  together  with  its  further 
development. 

Force  is  generated  from  the  different  elements  in  man,  and  may 
emanate  from  the  Soul,  the  Mind,  or  the  Body.  Where  there  is  life, 
there  will  be  found  Force  in  a  greater  or  less  degree.  It  is  the  out- 
ward expression  of  such  life  elements  within,  and  is  in  evidence 
according  to  the  development  of  the  organism. 

By  perfecting  the  physical  body  the  Physical  Power  is  developed. 
By  developing  the  mind  you  increase  the  Mental  Force.  The 
Spiritual  Force  is  developed  when  the  soul  is  given  freedom  of  ex- 
pression. The  soul  expression  through  the  mind  is  Personal 
Magnetism.  How  to  develope  these  Forces  is  given  fully  in  the 
pages  that  follow  and  is  divided  into  seven  subjects,  as  follows : 


FORCE  IS  POWER 

And  consists  of    1.     Reserve  Force  — Mental      — Gravity. 

2.  Spiritual  Force — Emotional — Flexibility. 

3.  Physical  Power — Physical    — Strength. 

DERIVATIONS. 

4.  Will  Power. 

5.  Personal  Magnetism. 

6.  Propelling  Force — Walking. 

7.  Hypnotism. 

123 


RESERVE  POWER. 


Reserve  Power  is  the  control  of  Forces  which  have  been  cultivated 
by  the  different  exercises  throughout  this  work  (sometimes  they  are 
inherent.)  Power  should  never  be  entirely  exhausted ;  some  of  it 
should  be  held  in  reserve. 


MENTAL  CONTROL. 

The  necessity  of  Reserve  Force  is  ignored  by  the  extremist,  whereas 
the  Mental  Control  should  always  be  in  a  condition  to  have  a  supply 
in  store ;  this  keeps  up  the  Emotional  Force  which  draws  upon  the 
physical  to  a  great  extent. 


THE  LAW. 

The  law  of  equality  is  plain  in  the  case  of  Reserve  Force.  If 
you  exhaust  one  Force,  you  do  it  at  the  expense  of  another.  Thus  it 
is  that  some  persons  are  all  mental  and  emotional,  or  all  physical ;  in 
fact  various  are  the  combinations  of  such  anomalies,  so  to  speak. 


124 


EXERCISES 

FOR  THE  CULTIVATION  OF  RESERVE  POWER. 
From  the  various  studies  in  this  work. 

I .  GRAVITY.     The  Pirouette  Exercise,  page  10. 
FLEXIBILITY.     The  Eelaxation  Exercise,  page  100. 
FORCE.     The  Entire  Study,  page  121. 

II.  PHYSICAL  CORRECTIONS  SERIES  I.  II.  III. 

Thigh  Brace  Exercise  page  20. 
Waist  Spanish  Circle,  page  32. 
Draw  Back  Bends,  page  34. 
The  Groins  for  Breathing,  page  36. 
Fingers  (separate  control),  page  44. 
Hand  (beauty  position),  page  44. 
Head  (side  to  side)  Exercise,  page  44. 

III.  STUDY  OF  CURVED  LINES. 

The  Repentant  (No.  6  Circle  Series,)  page  72. 

The  Inspiration  (No.  7  Circle  Series,)  page  72. 

Tbe  Upward  Advance  (No.  4  Wave  Series,)  page  78. 

The  Gateway  of  Heaven  (No.  7  Wave  Series,)  page  80. 

The  Warrior  (No.  4  Spiral  Series,)  page  88. 

An  Allegory  (No.  6  Spiral  Series,)  page  90. 

The  Arabesques  (No.  7  Spiral  Series,)  page  92. 

IV.  STUDIES  OF  GRACE. 

All  studies  should  show  latent  intensity  of  Reserve 
Force  for  their  expression. 

V.  STUDY  OF  ATTITUDES. 

Beyond  the  Base  Line  Attitude,  page  116.  Poise,  page  120. 

VI.  STUDY  OF  HARMONY  AND  OPPOSITION.     (Page  135.) 

This  entire  study  requires  some  form  of  Reserve  Force 
for  the  proper  execution  in  transmitting  the  intention  of 
the  Attitude  assumed. 

VII.  THE  MIND. 

Read  Aphorisms  for  the  development  of  the  Mind. 

125 


SPIRITUAL  FORCE. 


Spiritual  Force  is  that  indefinable  something  which  emanates  from 
a  strong  free  soul,  that  has  been  illuminated  by  the  divine  spark.  The 
stronger  the  soul  the  more  of  the  divine  spark  will  it  be  able  to 
absorb  and  the  greater  will  be  the  soul's  radiance. 


DUALITY. 

No  known  law  governs  the  soul's  action  of  Force.  It  comes  from 
that  high  source  of  which  this  work  merely  hints.  Its  duality  is 
shown  in  the  Physical  (Physical  Power,)  "  what  is  in  the  spiritual  is 
also  in  the  flesh ; "  what  it  is  here,  we  can  only  perceive  through 
Personal  Magnetism,  and  develope  it  by  correct  living. 


MANIFESTATION. 

Spiritual  Force  is  the  love  essence  of  the  soul  and  is  only  made 
manifest  after  the  body  has  been  purged  of  all  carnality  and  the 
soul  has  become  its  master. 


126 


APHORISMS 

To  CULTIVATE  SPIKITUAL,  FOECE. 

1.  Abstinence.     Temperance. 

2.  Self  denial. 

3.  Follow  the  laws  of  nature  always. 

4.  Observe  the  laws  of  health. 

5.  Self  inflicted  penance. 

6.  Soul  meditation. 

7.  Prayer. 


127 


PHYSICAL  POWER. 


Physical  Power  is  strength  and  according  to  the  Anatomy  of  the 
Elements  of  Man  this  power  is  located  in  the  extremities.  The 
arms  are  for  protection  and  the  legs  for  locomotion,  not  forgetting 
the  trunk  from  which  these  branches  grow. 


WALKING. 

Perfect  walking  embraces  the  perfection  of  the  Physical  Corrections 
of  the  body  with  a  complete  harmony  of  the  study  of  Gravity, 
Flexibility  and  Strength.  In  walking  there  should  be  gravity 
buoyancy  of  the  body,  errect  carriage  and  proper  setting  of  the  head. 
The  laws  relating  to  toe,  heel  and  ankle  or  foot  must  be  carefully 
studied.  For  Walking  Exercises,  see  page  129. 


STRENGTH  or  MUSCLES. 

The  muscles  in  the  arms,  legs  and  body  should  be  flexible ;  the 
strength  of  steel  with  the  flexibility  of  leather. 


128 


WALKING  EXERCISES. 


No.  1.  (THE  BASE.) 
Practice  Toe  Position, 
page  20.  Practice  Ankle 
Twist,  page  20.  Now 
walk  showing  these  cor- 
rections. March  time. 


No.  3. 

Assume  Lock  Exer- 
cise, page  32  ;  same  time 
do  Toe  Position,  page  20; 
next,  same  time  do  Buoy- 
ancy, page  10.  Now  walk 
with  handslocked,  show- 
ing previous  exercises. 
Care  should  be  taken  to 
have  erect  carriage.  To 
correct  any  imperfection 
lock  hands  higher. 
March  time. 

XOTE— Chin  in,  chest  out. 


No.  5. 

Practice  overhead  sway 
of  arms,  page  46.  Now 
do  this  and  walk,  ob- 
serving all  previous 
rules.  Waltz  time. 


No.  2. 

Practice  Buoyancy, 
page  10  ;  same  time  exe- 
cute Elbow  Twist,  page 
44.  Now  walk  showing 
all  of  No.  1,  with  Buoy- 
ancy added.  Buoyancy 
is  for  the  natural  adjust- 
ment of  the  muscles. 
March  time. 


No.  4. 

Clapping  hands  at  3d 
upper  front  position, 
then  swinging  arms  to 
3d  lower  behind,  (as  per 
cut )  Do  this  and  walk, 
observing  all  previous 
rules.  Waltz  time,  then 
March  time. 


No.  6. 

Place  arms  in  3d  or 
balance  position  and 
walk.  This  exercise  is 
for  strengthening  the 
muscles  under  the  arms, 
giving  a  freedom  of  ex- 
tremities. March  time. 


No.  7. 

Practice  Eunning  Ex- 
ercise, page  14,  breathe 
through  nostrils,  observe 
head  position,  elbow 
crooked  and  hands 
closed.  Now  run  (double 
quick)  keep  time.  Polka 
time. 

129 


WILL  POWER. 


"  He  that  controlled!  bis  temper  is  greater,"  etc.,  is  well  known  to 
every  person  and  this  can  only'^be  accomplished  by  controlling  the 
will.  The  whole  foundation  of  the  universe  is  based  upon  Will.  If 
all  the  prominent  religions  'are  carefully  sifted  they  will  be  found  to 
rest  upon  will.  Our  will  is  but  a  reflection  of  the  Supreme  Will, 
therefore  its  limitations  or  possibilities  are  unknown  to  us.  Having 
developed  the  mind  the  next  essential  step  is  to  exercise  constant  con- 
trol of  that  will. 


HABIT. 

Lack  of  Will  Power  is  a  weakness  and  is  a  bad  habit ;  it  can  be 
corrected  by  gravity  and  strength;of  mind  and  following  the  aphorisms 
given  on  next  page. 


TEMPER. 

Will  Power  and  stubbornness  are  often  confounded  ;  but  there  is  a 
vast  difference.  Stubbornness  will  cling  to  a  subject  or  point  against 
all  reason,  or  possible  gain  thereby,  showing  a  decided  weakness  of 
intellect.  Persons  who  lose  their  temper  lack  Will  Power  to  control  it. 


130 


APHORisns 

To  CULTIVATE  WILL  POWER. 

1.  Reserve  the  Mental  Powers. 

2.  Maintain  Gravity  of  Mind. 

3.  Control  of  Temper. 

4.  Purge  yourself  of  Laziness. 


5.     Do  not  let  any  one  element  predominate.     Extreme  en- 
thusiasm knows  no  law  of  harmonic  reason. 


6.     Steadfastness  to  Principal  and  Firmness  of  Purpose. 


7.     Purity  of  Thought. 


131 


PERSONAL  MAGNETISM. 


Personal  Magnetism  is  that  force  that  is  the  glow  of  the  soul,  as 
the  flower  has  its  perfume,  the  sun  its  sunbeam,  both  of  which  are 
rays  of  force.  Personal  Magnetism  is  only  in  evidence  when  the 
soul  has  dropped  its  fetters  or  blossomed.  It  is  there  at  all  times  in 
a  positive  or  negative  degree. 


THE  LAW. 

The  law  is  simple  and  the  proof  is  to  try  the  law.  Perfect  the 
body  ;  express  the  intellect  of  the  mind  through  and  by  movements 
of  the  body,  until  the  perfection  and  intensifying  of  these  expressions 
calls  for  a  deeper  force  which  comes  from  the  soul.  This  deeper  force 
of  soul  and  mind  is  Personal  Magnetism.  The  practice  of  intensify- 
ing the  proper  mental  expressions  and  emotions,  establishes  the 
channel  that  reaches  the  soul  and  Personal  Magnetism  is  developed. 
The  soul  is  thus  given  freedom  of  expression  through  Personal 
Magnetism. 


EXERCISES. 

Personal  Magnetism  relates  to  the  soul,  therefore  all  exercises  to 
cultivate  it,  must  be  devoid  of  the  grosser  elements.  Maintain  or 
practice  the  mental,  the  spiritual  and  the  spiral  movements.  The 
grosser  elements  will  not  contribute  to  the  cultivation  of  Personal 
Magnetism.  See  the  Study  of  the  Soul  and  the  Anatomy  of  the 
Elements  of  Man. 


EXERCISES 

FOB  THE  CULTIVATION  OF  PERSONAL  MAGNETISM. 
From  the  various  studies  in  this  work. 

I .  GRAVITY.     Buoyancy  Exercise,  page  10. 
FLEXIBILITY.     The  Entire  Study,  page  94. 

FORCE.     Reserve  Power,  Spiritual  Force  and  Will,  page  121. 

II.  PHYSICAL  CORRECTIONS,  SERIES  I.  II.  III. 

Waist  Spanish  Circle,  page  32. 
Abdomen  and  Stomach  Circle,  page  32. 
Wrist,  (figure  eight,)  page  48. 
Hand,  the  discharge,  page  48. 
The  Spiral  of  the  Hand,  page  48. 
Head  and  Vertebra  Exercise,  page  48. 
Head,  Circle  Movement,  page  48. 

III.  THE  STUDY  OF  CURVED  LINES. 

Transmission  of  Power,  (No.  5  Circle  Series,  page  72.) 
The  Emotion  of  Love,  (No.  5  Wave  Series,  page  78.) 
In  a  Garden  Fair,  (No.  6  Wave  Series,  page  80.) 
The  Spiral  Motion,  (No.  1  Spiral  Series,  page  86.) 
The  Call  to  God,  (No.  2  Spiral  Series,  page  86.) 
Take  my  Soul  in  Thy  Keeping,  (No.  3  Spiral  Series,  p.  88.) 
An  Allegory,  (No.  6  Spiral  Series,  page  90.) 

IV.  STUDIES  OF  GRACE. 

All  studies  show  a  flow  of  Personal  Magnetism  governed 
as  it  were  by  Reserve  Power. 

V.  STUDY  OF  ATTITUDES. 

The  Knee  Bend  Attitudes  and  exercises  relating  to 
them,  page  118  ;  also  Arabesque  Attitudes,  page  120. 

VI.  STUDY  OF  HARMONY  AND  OPPOSITION. 

The  entire  study  of  Harmony  must  be  applied  to  all 
movements  for  the  proper  development  of  Personal 
Magnetism,  page  135. 

VII.  The  study  of  the  Soul,  the  Mind,  the  study  of  Ideality  and 

Inspiration,  complete  the  study  of  Personal  Magnetism. 


HYPNOTISfl. 


Hypnotism  is  physical  magnetism  and  is  demonstrated  through 
the  control  of  will.  Hypnotism  has  no  direct  bearing  on  this  work, 
it  is  merely  mentioned  because  it  is  one  of  the  manifestations  of  the 
Force  of  Will. 


POWER. 

Hypnotism  proves  in  this  work  that  an  unseen  force  has  a  power, 
which  is  an  acknowledgment  that  all  the  Forces  mentioned  have  a 
power  of  their  respective  kinds. 


REASON. 

In  a  state  of  trance  the  consciousness  is  entirely  mastered ;  the 
mind  may  even  forget  the  existence  of  the  physical  body.  Man 
exists  as  an  individual  just  so  long  as  he  is  in  possession  of  that 
divine  reason  he  is  originally  endowed  with. — A  reason  which  is  not 
an  attribute  of  the  human  form,  but  a  function  of  the  divine  spirit 
which  illuminates  it. 


134 


POISE,    OPPOSITION  AND  HARMONY. 


POISE,  OPPOSITION  AND  HARFIONY. 

POISE — Gravity — Mental. 
OPPOSITION — Force — Emotional. 
HAEMONY— Flexibility— Physical. 

There  is  a  Harmony  in  every  attitude  and  movement  in  this  work. 
In  all  things,  God,  Man  and  the  Universe. 

Duality  implies  Opposition.  The  Harmony  of  Duality  is  where 
the  third  element  is  added  which  constitutes  a  Trinity  and  completes 
a  harmony  of  the  whole.  Harmony  is  in  this  way  established  ;  for 
instance  :— The  Trinity  of  the  Body,  the  Mind  and  the  Soul ;  thus 
at  a  glance  in  any  study  you  should  be  able  to  find  the  harmony.  To 
take  one  element  from  a  Trinity  breaks  the  harmony. 

The  Grace  of  God  is  the  harmony  in  the  Trinity  of  the  Father, 
Son  and  Holy  Ghost.  The  Grace  of  Man  is  the  harmony  in  the 
Trinity  of  the  Body,  the  Mind  and  the  Soul.  This  (Triune)  Har- 
mony will  be  found  throughout  all  the  studies  in  this  work. 

To  Poise  the  body  is  to  balance  the  body  or  parts  of  it.  (See 
Study  of  Attitudes,  page  120.) 

Opposition  is  to  place  in  counter  poise  a  part  of  the  body  to  com- 
plete a  balance  which  creates  a  Poise. 

Harmony  of  two  parts  of  the  body  in  different  locations  is  to 
create  a  sympathy  between  them,  or  a  leaning  toward  each  other  ; 
which  is  equalizing  them  to  a  balance  and  with  an  opposition,  which 
is  a  counter  poise  (or  balance,)  constitute  a  harmony  of  the  whole. 

A  Harmony  of  parts  in  a  balance  position  with  an  Opposition 
(creating  a  counter  poise)  is  a  complete  Poise. 


136 


EXEMPLIFICATION. 


MERCURY 
ATTITUDE. 


ARCH 
(outward) 
ATTITUDE. 


MERCURY  BALANCE  ATTITUDE. 

The  body  is  balanced  on  one  foot.  The  Harmony  is  established  by 
the  inclination  of  the  head  and  acting  foot  (left)  creating  a  balance. 
The  waist  is  opposed,  (convex  at  left  side)  which  creates  the  counter 
poise  or  counter  balance,  making  a  complete  poise.  The  head  is  inclined 
from  the  high  (right)  hand  ;  the  left  in  position  acting  as  a  counter 
balance  to  right  hand.  The  line  of  Gravity  is  observed  from  neck  to 
center  of  heel  of  standing  foot. 

ARCH  (outward)  ATTITUDE  £  view  front. 

The  Harmony  is  established  by  the  inclination  of  the  head  back- 
ward to  a  balance  with  the  acting  foot,  which  is  the  rear  foot.  The 
opposition  of  the  waist  occurs  in  the  back  of  the  waist  (back  convex.) 

THE  "REPENTANT"  ATTITUDE. 

The  pointed  foot  in  front  (right)  and  the  head  forward  and  to  right, 
create  a  Harmony  of  two  parts.  The  opposition  of  the  trunk  is 
front  of  waist  (near  right  side)  ;  the  head  is  inclined  from  the  high 
hand. 


137 


HARflONY. 


THE  HARMONY  OF  GRAVITY  is  A  PERFECT  BALANCE. 

(  Mental — Rhythm,  Reserve  Power,  Control  of  Force. 
ELEMENTS  <  Emotional — Bouyancy,  Counter  Poise,  Blendings. 

(Physical — Balance,  Regularity  of  Motion,  Equilibrium. 

THE  HARMONY  OF  FLEXIBILITY  is  EASE  OF  MOTION. 

(Mental — Perception,  Intent,  Directs  Force. 
ELEMENTS  <  Emotional — Action,  Force,  Relaxation. 

(  Physical — Ease  of  Motion,  Control  of  Muscles,  Indi- 
vidual Control. 


THE  HARMONY  OF  FORCE  is  CONTROL  OF  POWER. 

,  C Mental — Reserve  Force,  Gravity  of  Mind,  Will  Power. 
Emotional — Spiritual  Force,  Personal  Magnetism,  Hyp- 
ELEMENTS  \          uotism. 

|  Physical — Physical  Strength,  Propelling  Power,  Dis- 
(^         tributiou  of  Force. 

IN  THE  STUDY  OF  THE  ELEMENTS  OF  MAN, 

The  Trinity  of  God  by  its  completeness  constitutes 
Harmony  in  its  fullest  sense.  This  applies  also  to  the 
Trinity  of  man.  Neither  would  be  complete  if  one 
factor  were  missing.  This  completeness  constitutes 
Harmony,  and  here  we  have  the  foundation  of  Harmony. 

THE  HARMONY  OF  CURVED  LINES  is  PERFECT  GRACE. 

Mental — Circle  Lines. 
Emotional — Wave  Lines. 
Physical — Spiral  Movements. 

THE  HARMONY  OF  GRACE  is 

THE  EXPRESSION  OF  THE  SOUL, 

THROUGH  THE  MIND, 

BY  MOTION  OF  THE  BODY. 


138 


LAWS  OF  OPPOSITION  AND  HARMONY 

SHOWING  THE  HARMONY 

OF  THE  WHOLE. 


LAWS  OF  OPPOSITION  AND  HARHONY  SHOWING  THE 
HARMONY  OF  THE  WHOLE. 

Applied  to  each  part  of  the  body. 
SERIES  I. 

THE  TOES,  HEEL  AND  ANKLE. 

The  toes  and  heel  should  always  show  a  natural  law  of 
opposition,  that  is  toes  in  one  direction  and  heel  in  an 
opposite.  The  use  of  the  ankle  completes  the  Harmony 
of  the  proper  poise  of  the  foot. 

THE  HEEL,  HIP  AND  KNEE. 


The  heel,  knee  joint  and  hip  muscles  are  related  and 
make  a  uniform  whole,  which  is  a  Harmony.  The  heel 
and  hip  the  Harmony  with  the  knee  as  a  counter  poise. 


THE  KNEE,  CALF  OF  LEG  AND  THIGH. 

There  is  a  natural  law  of  Harmony  of  the  knee,  calf  of 
leg  and  the  thigh.  The  latter  two  parts  should  close 
evenly  at  the  bending  of  the  knee  to  create  a  good  balance, 
constituting  the  Harmony.  In  Bouyancy,  the  opposition 
is  the  counter  poise  of  the  knee  itself. 


140 


BOUYANCY — THE  KNEE,  SHOULDEES  AND  HEAD. 

The  Law  of  Harmony  in  Bouyancy  is  a  balance  of  the 
knee  act>i°n  with  the  shoulders.  The  shoulders  are  the 
pedestal  for  the  head ;  the  head  always  directs  the 
Harmony  of  a  poise.  The  opposition  (counter  poise)  in 
this  case  is  the  trunk  at  the  waist  line,  observing  the 
centre  of  gravity  of  the  entire  body. 


THE  LEGS,  THE  TRUNK,  THE  HEAD. 

The  natural  law  of  the  legs  are  their  opposition  move- 
ment in  propelling  force  or  Avalking,  which  balances  the 
body ;  the  trunk  (especially  the  chest,)  the  head  and  arms 
make  a  complete  weight  and  is  a  counter  poise  which  the 
legs  carry.  The  balancing  of  the  whole  is  the  Harmony. 


THE  ACTING  FOOT,  THE  HEAD  AND  THE  WAIST. 

The  acting  foot  is  usually  in  Harmony  with  the  head, 
and  the  waist  is  opposed.  The  waist  is  opposed  (and  con- 
cave) at  the  point  where  this  Harmony,  "  head  and  acting 
foot"  is  established,  more  especially  in  attitudes  of  poise 
on  one  foot.  The  waist  line  meaning  around  the  body 
and  this  counter  poise  may  occur  at  any  part  of  it. 


THE  HIP,  THE  KNEE  AND  THE  ANKLES. 


The  Harmony  of  ankle,  knee  and  hip  muscles  should 
be  well  studied,  as  they  are  the  hinges  of  the  leg.  In 
Arch  Attitudes  this  Harmony  is  established  in  its  most 
pronounced  sense. 


141 


SERIES  II. 

THE  WAIST,  CONTROL  OF  CENTRE  AND  FREEDOM  OF  EXTEEMITIES. 
The  waist  is  the  supposed  centre  of  the  control  of 
gravity.  This  control  of  gravity,  with  a  freedom  of  the 
extremities  form  a  complete  Harmony.  This  center  is 
subject  to  an  opposition  poise  or  Harmony  to  retain  the 
centre  of  gravity  of  the  whole. 


THE  TRUNK,  THE  CHEST  AND  ABDOMEN  AND  STOMACH. 

A 

The  Harmony  of  the  trunk  is  the  carriage  of  the  chest, 
*" abdomen  and   stomach   with  an  opposition  of  the  arms 
which  completes  its  proper  carriage. 


THE  SPINAL  COLUMN  OR  BACK,  SHOULDER  BLADES  AND  CHEST. 

A  perfect  Harmony  is  created  by  strength  of  spinal 
column  with  an  opposition  balance  of  the  shoulder  blades ; 
this  gives  the  trunk  (or  chest)  its  proper  carriage.  This 
Harmony  creates  a  physical  support  or  Harmony  of 
strength. 


ABDOMEN,  STOMACH  AND  GROINS. 


The  abdomen,  stomach  and  groins  form  a  complete 
Harmony;  either  part  not  being  in  its  proper  position 
would  destroy  the  Harmony  of  the  waist  line. 


142 


THE  CHEST,  THE  CHIN,  THE  SHOULDER  BLADES. 

The  chest  is  the  mentality  of  the  trunk  and  relates 
therefore  to  the  head.  The  relationship  is  first  to  the 
shoulder  blades  as  a  support  to  the  chest,  and  second  the 
chin  drawn  in,  in  opposition  to  the  chest ;  forming  a 
Harmony  of  shoulder  blades  and  chin ;  viz :  chest  out 
and  chin  drawn  in,  with  the  shoulder  blades,  constitute  a 

complete  Harmony. 


BREATHING — LUNGS,  DIAPHRAM  AND  GROINS. 

The  lungs'  action,  the  storage  at  diaphram  and  the 
added  control  of  muscles  of  the  groins  constitute  the 
Harmony  of  proper  breathing. 


THE  NECK,  THE  HEAD  AND  THE  SHOULDERS. 

The  muscles  of  the  neck  is  subservient  to  the  head 
muscles  and  those  of  the  shoulders,  viz :  the  head  rests 
upon  the  shoulders  connected  by  the  neck,  and  the 
Harmony  is  a  natural  one.  The  neck  should  denote 
flexibility. 


143 


SERIES  III. 

THE  ELBOW,  THE  SHOULDER  AND  THE  HAND. 

gj  The  elbow  is  the  natural   opposition  of  the  shoulder 

and  hand.  The  perfect  blending  of  shoulder  joint,  elbow, 
wrist  and  fingers  should  be  given  great  care.  A  correct 
Harmony  of  curves,  wave  lines  and  spiral  lines  are  ex- 
ecuted with  the  arm.  The  elbow  being  the  emotional 
part  of  the  arm,  snch  force  is  always  apparent  at  the 

elbow  and  should  express  this  element  in  a  complete  Harmony  of 

the  whole  arm. 

THE  WRIST,  THE  ELBOW  JOINT  AND  THE  SHOULDER  JOINT. 


ankle  and   neck.      Its  character  is  of   a   more   flexible 
^,    ;  ^    nature,  having  a  more  intellectual  duty  to    perform  than 
either  of  the  two  mentioned.     The  Harmony  of  transmitting  strength 
and  curve  is  from  the  shoulder  to  the  elbow,  to  the  wrist ;  and  the 
even  blending  of  these  ports  also  constitutes  a  Harmony. 

THE  HAND,  THE  FINGERS  AND  THE  HEAD. 

,<£?        In  all  expressions  there  should  be  a  perfect 
}  \  /  \1>J  Harmony  of  the  hand  and  head.     The  hand 

T^l^^__       ^ i    /    is  the  physical  agent  of  the  mind  and   its 

/  third  element  is  intelligence,  which  completes 
one  of  the  most  subtle  harmonies.  The  physical  Harmony  of  the 
hand  is  clearly  shown  in  the  beauty  position  ;  the  fingers  and  lower 
cushion  being  in  balance,  the  counter  poise  of  the  wrist  completing 
the  Harmony  of  the  whole. 

THE  ARM,  THE  LEGS  AND  THE  HEAD. 

The  Harmony  of  the  arms  is  their  natural  law  of  oppo- 
sition swing,  which  creates  a  balance.  This  swing  is  in 
'opposition  to  the  natural  opposition  of  the  legs.  From 
these  natural  laws,  the  deduction  is  easily  made  that  the 
right  foot  and  left  arm  are  always  poised  in  opposition  to 
*jf±i  create  a  balance,  and  the  same  rule  applies  to  left  foot  and 
right  arm,  in  anv  attitude.  Opposition  movements  of  the  arms  are 
done  simultaneously.  Parallel  movements  follow  each  other.  The 
arm  is  the  channel  of  expression  of  the  mind  to  the  hand.  This  last 
Harmony  is  of  a  high  order  and  relates  to  Mental  Force.  The  same 
Harmony  is  found  in  the  Emotional  and  Physical  Forces  when  ap- 
plied to  the  arm. 


THE  SHOULDERS,  THE  CHEST  AXD  THE  HEAD. 

The  shoulders  should  balance  each  other,  and  the  chest 
in  opposition  completes  the  physical  Harmony.  The 
thought  of  comfort  and  ease  transmitted  to  the  feeling  of 
the  shoulders  indicates  their  proper  adjustment.  The 
shoulders  reflect  various  intents  of  the  mind  on  this  basis. 


THE  FIXGERS — THE  THUMB,  THE  INDEX  AND  LITTLE  FINGERS. 

The  Harmony  of  the  fingers  is  in  their  ex- 
pression of  curve,  flexibility  and  force.  The 
harmony  of  the  two  middle  fingers  and  thumb 
and  opposition  of  index  and  little  fingers  form 
a  physical  Harmony  of  beauty. 

NOTEJ— The  entire  hand  presents  the  same  form  of  harmony  as  that  of 
the  body  as  a  whole  ;  four  distinct  parts,  viz  :  Thumb,  palm,  index  and 
little  fingers,  and  middle  fingers,  representing  head,  trunk,  arms  and  legs. 
These  four  parts  harmonizing  under  the  head  of  three. 


THE  HEAD. 

The  head  is  the  fountain  of  Harmony  of  the  body  and 
there  is  no  complete  Harmony  of  any  parts  of  the  body 
JX  without  some  expression  of  the  head.  Herein  are  found 
the  natural  laws  of  Harmony.  The  agents  of  the  machinery  within 
are  located  in  the  different  parts  of  the  head.  The  head  is  always  in 
Harmony  and  forms  a  balance  with  the  acting  foot ;  the  trunk  is 
opposed.  The  head  is  always  opposed  to  the  highest  hand  or  hands. 
The  poise  of  the  head  first  indicates  and  at  last  finishes  the  Harmony 
of  gravity  in  assuming  any  attitude  or  position. 

CORROLLARY. 

The  extremities  (arms  and  legs)  are  opposed  by  a  natural  law, 
which  constitutes  a  Harmony. 

The  trunk  is  opposed  (a  counter  poise)  which  completes  a  poise. 

The  head  is  opposed  to  either  a  leg  or  arm,  and  at  the  same  time 
is  in  harmony  with  the  opposite  leg  or  arm,  and  the  head  inclines  to 
start  and  finish  the  gravity  of  a  poise. 

145 


ANALYSIS   OF  ATTITUDES. 

(Showing  Harmony  and  Opposition.) 
STRAIGHT  ATTITUDES— (For  Illustrations,  see  page  108.) 


t 


STRAIGHT  (standing)  ATTITUDE. 
The  Harmony  is  the  gravity  of  the  whole  body. 


STRAIGHT  (right)  ATTITUDE. 
Harmony — head  and  left  foot,  left  waist  opposed. 
Gravity  line  from  neck  to  right  heel. 


STRAIGHT  (left)  ATTITUDE. 

Harmony — head  and  right  foot,  right  waist  opposed. 
Gravity  line  from  neck  to  left  heel. 


STRAIGHT  (forward)  ATTITUDE. 

Harmony — head  (back)  and  back  foot,  back  waist  opposed. 
Gravity  line  neck  to  right  heel. 


STRAIGHT  (back)  ATTITUDE. 

Harmony — head  and  right  foot,  front  waist  opposed. 
Gravity  line  neck  to  left  heel. 


The  Mental  Harmony  should  be  equilibrium  or  gravity  transmitted 
to  the  mental  centers — namely  from  the  head  to  the  chest  and  hands. 


146 


t 


AECH  ATTITUDES— (For  Illustrations,  see  page  110.) 


AECH  (right)  ATTITUDE. 

Harmony — head  and  left  foot,  left  waist  opposed. 
Head  opposed  to  right  hand.    Gravity  line  neck  to  right  heel. 


ARCH  (left)  ATTITUDE. 

Harmony — head  and  right  foot,  right  waist  opposed. 
Head  opposed  to  left  hand.     Gravity  line  neck  to  left  heel. 


ARCH  (outward)  ATTITUDE. 

Harmony — head  (back)  and  left  foot,  back  waist  opposed. 
Gravity  line  (perpendicular)  neck  to  right  heel. 


ARCH  (inward)  ATTITUDE. 

Harmony — head  (forward)  and  right  foot,  front  waist  opposed. 
Gravity  line  (perpendicular)  neck  to  left  heel. 


The  Mental  Harmony  is  flexibility  of  muscles  transmitted  to  the 
muscles  comprising  the  arch.  Also  the  Harmony  of  gravity  trans- 
mitted to  the  mental  centers  perfecting  the  gravity. 


117 


BENDING  ATTITUDES— (See  page  112.) 

STRAIGHT  (forward  knee  bend,)  ATTITUDE. 

The  mental  harmony  is  first  established — usually  heroic. 
The  physical  harmony  is  the  same  as  Straight  (forward) 
Attitude,  the  bend  of  forward  knee  giving  the  Attitude 
force.  Arms  are  in  counter  poise  ;  the  harmony  is  of  head 
and  acting  (rear)  foot ;  head  in  opposition  to  high  hand  ; 
gravity  line  is  from  standing  front  foot  to  neck ;  all  form  a 

correct  harmony. 

ARCH  (inward  knee  bend)  ATTITUDE. 

The  mental  harmony  is  first  established — usually 
sorrow,  etc.  The  physical  harmony  is  the  same  as  Arch 
(inward)  Attitude,  the  bend  of  rear  knee  giving  the  Atti- 
tude force.  Arms  are  in  counter  poise  ;  the  harmony  is  of 
head  and  acting  front  foot ;  head  inclined  from  high  hand; 

front  waist  opposed ;  gravity  line  from  standing  rear  foot  to  neck 

(perpendicular) ;  all  form  a  correct  harmony. 

SPIXAL  COLUMN  (side  view)  ATTITUDE. 

The  mental  harmony  is  first  established — gravity  be- 
QL_(        youd  base.     The  left  foot  is  placed  behind  the  base,  (now 
(&j.       standiug  side  view).     The  head  and  right  foot  are  placed 
in  harmony,  (the  head  away  from  high  hand)  and  gravity 
line  established  head  over  base  ;  now  bend  to  right  be- 
yond base  line,  (follow  the  laws  of  gravity),  the  head 
leading  and  finishing  the  poise  intended. 

THE  COURTESY. 

The  mental  harmony  is  dignity,  (mental  for  Bow  is 
obedience),  the  physical  harmony  is  the  same  as  Arch  (in- 
ward) Attitude,  the  bend  of  rear  knee  giving  the  Attitude 
expression.  Arms  are  balanced  ;  the  harmony  is  of  head, 
(inclined  to  right  and  forward)  and  front  foot ;  front  of 
waist  opposed.  Every  movement  required  for  the  execution  of  this 
Courtesy  will  bear  a  technical  analysis  as  prescribed  in  the  Art  of  Danc- 
ing, viz  :  "  Assemble,  Demi-Ronde  Jombe.  Balance,  Sorte.  Demi- 
Eonde  Jombe  Assemble." 


148 


SPINAL  COLUMN  (right  side)  ATTITUDE. 

The  mental  harmony  is  strength  of  poise  and  gravity 
beyond  the  base  line ;  face  front,  step  to  side  with  right 
foot,  forming  a  solid  base;  bend  over  to  right,  follow 
laws  of  gravity,  using  the  head,  hands  and  bend  of  knee 
and  arm  to  complete  the  harmony  of  the  arch  or  circle. 


THE  AEABESQUES. 

The  mental  harmony  is  grace  of  motion.  The  Arch  is 
of  the  right  side.  The  physical  harmony  is  of  the  head  and 
left  foot ;  left  side  waist  opposed  ;  head  inclined  from  high 
hand;  arms  are  counter  poised.  In  the  execution  of  this  At- 
titude from  right  to  left  the  harmonies  of  Spinal  Column 
Attitudes,  the  Arch  Attitudes  and  Straight  Attitudes  must 

be  observed,  as  the  body  passes  through  them,  to  reach  an  Arabesque. 


THE  BACK  BEND. 

The  mental  harmony  is  strength  of  poise  and  gravity 
beyond  the  base  line.  About  face,  step  back  with  right 
foot  forming  a  solid  base,  bend  backward  and  follow  the 
laws  of  gravity,  using  the  head,  neck,  knees  and  hips  to 

complete  the  arching,  creating  a  harmony  of  the  subjective  centres  of 

gravity. 


In  the  study  of  the  Triune  of  Attitudes,  the  Straight  Attitudes 
relate  to  the  mental,  the  Arch  Attitudes  to  the  emotional  elements 
(being  curved)  ;  the  Knee  Bend  added  to  either  completes  the  trinity 
of  elements — which  gives  them  physical  strength  or  force. 


149 


THE  MIND. 

THE  INSPIRATION  THEORY. 
IDEALITY. 


THE  MIND. 


The  Mind  is  that  force  or  essence  of  forces  that  creates  intelligence 
and  is  the  fruit  of  that  instrument  known  as  the  brain.  Here  is  the 
seat  of  intelligence.  This  brain  is  the  receiving  office  and  dispatching 
depot  to  the  different  mental  centres  of  the  body  from  which  this 
intelligence  is  then  distributed  to  the  various  parts  of  the  body, 
which  are  the  subjective  centres,  /.  e.  the  hand,  the  chest,  etc.  The 
mind  may  be  developed,  in  fact  it  is  nearly  a  natural  law.  The 
muscles  of  the  body  may  be  developed,  and  this  again  proves  that  the 
soul  may  be  developed. 


THE  MIND. 
Its  divisions  are     1.     Reason,  Conception,  Perception. 

2.  Receives  Inspiration,  Inspires,  Ideality. 

3.  Imparts  Force,  Intelligence  and  Magnetism. 

DERIVATIONS. 

4.  Conception  and  Ideality. 

5.  The  Inspiration  Theory. 

6.  The  Intelligence. 

7.  Its  Relation  to  the  Soul. 


152 


AXIOMS 

FOR  DEVELOPING  THE  MIND. 

1.  Reason. 

2.  Be  patient  and  observe  closely. 

3.  Control  your  temper. 

4.  Study  mathematics. 

5.  Purge  the  mind  of  impure  ideas. 

6.  Think,  study  and  conceive. 

7.  Study  the  Soul. 


153 


INSPIRATION. 


An  Inspiration  is  a  message  from  the  Soul  to  the  Mind.     It  may 
be  a  thought,  a  conception  or  a  force. 


In  the  study  of  Personal  Magnetism  in  this  work  mention  is  made 
of  its  being  the  glow  or  force  of  the  Soul.  When  this  Personal 
Magnetism  carries  with  it  an  intelligence,  it  is  then  Inspired  Personal 
Magnetism  or  Inspiration. 


Inspired  Personal  Magnetism  is  Personal  Magnetism  in  its  most 
developed  form.  If  we  possess  Personal  Magnetism  we  will  soon  be 
permeated  with  Inspiration  of  the  Soul ;  and  be  able  to  inspire  our- 
selves and  carry  others  with  these  inspirations  or  intelligences.  Again, 
if  Personal  Magnetism  can  be  imparted,  we  can  transmit  to,  or  inspire 
others  and  they  will  feel  this  force. 


154 


IDEALITY. 


The  beautiful  study  of  Ideality  is  developed  in  the  mind.  When 
the  mind  is  touched  by  an  inspiration,  thoughts  are  clothed  in  golden 
garb  and  perfection  is  king.  Ideality  leads  to  purity  of  thought 
and  elevation  of  the  mind  for  the  development  of  the  beautiful. 


Ideality  cannot  be  fostered  by  any  of  the  grosser  elements,  as  it  is 
the  first  sign  or  touch  of  the  spiritual  force  of  the  soul. 


Thus  does  the  Soul  in  time  register  its  various  forces  in  the  mind, 
for  its  deliverance  to  freedom. 


The  registering  of  the  various  forces  in  the  mind  creates  intelligence. 
A  force  is  thus  established,  which  is  for  the  purpose  of  imparting 
such  knowledge  through  the  various  instruments  of  the  body,  viz  : 
the  mouth  to  speak,  the  eyes  to  express,  etc.  This  intelligence  directs 
all  forces. 


155 


THE  STUDY  OF  THE  SOUL. 


THE  SOUL. 

GOD 

THE  FATHER,  Sox  AND  HOLY  GHOST. 

The  Grace  of  God. 
LOVE.  WISDOM.  POTTER. 


THE  SOUL 

Has  an  INTELLIGENCE  FORCE. 

The  LIFE  FORCE  within  us. 
A  SPIRITUAL  FORCE. 

This  Trinity  in  One  is  the  Soul. 

INTELLIGENCE  is  WISDOM. 
LIFE  FORCE  is  POWER. 
SPIRITUAL  FORCE  is  LOVE. 

Thus  do  we  resemble  the  Great  Creator  only  on  a  lesser  scale. 

The  Soul  is  the  reflection  or  "part  of"  the  all  prevailing 
"  GOD." 

The  word  reflection  here  represents  a  Force.  The  flowers  have 
their  odor,  the  sun  its  rays,  the  earth  its  atmosphere,  the  Soul  its 
force,  and  God,  His  reflection. 


158 


GOD. 
WISDOM.  LOVE.  POWER. 

THE  SOUL. 
INTELLIGENCE  FORCE.         SPIRITUAL  FORCE.         LIFE  FORCE. 

THE  BODY. 

MENTAL  ELEMENT.  EMOTIONAL  ELEMENT. 

PHYSICAL  ELEMENT. 


The  harmony  of  the  Soul  is  the  forces  mentioned ;  without  either 
it  would  not  be  a  soul. 


RELATION. 

The  INTELLIGENCE  FORCE  is  related  to  the  Mind. 

The  SPIRITUAL  FORCE  is  related  to  the  Heart. 

The  LIFE  FORCE  is  the  inner  atmosphere  of  our  Body. 


The  Trinity  of  these  three  forces  forms  a  magnetism  similar  to 
that  given  in  the  Study  of  the  Mind.  This  is  Personal  Magnetism. 
It  should  rightfully  be  termed  Soul  Magnetism. 


159 


TO  CULTIVATE  THE  SOUL. 


To  cultivate  the  Soul,  so  do  as  you  cultivate  the  plant.  The  soil 
(the  body)  is  carefully  tilled.  The  flower  grows,  and  its  careful 
training  shows  in  its  beautiful  physical  formation.  Its  perfume  is  an 
offer  of  unbounded  joy  for  its  freedom  of  expression. 


There  are  flowers  with  perfume, 

There  are  people  with  the  Grace  of  Man, 

For  such  flowers  and  men 

That  need  development,  this  work  is  written. 


To  possess  the  Grace  of  Man  we  must  have 

Grace  of  Soul, 
Grace  of  Mind, 
Grace  of  Body. 


The  Grace  of  Man  is  the  harmony  of 

the  Grace  of  Soul,  Mind  and  Body. 

To  be  graceful  of  only  one  or  two  of  these 

elements,  does  not  make  a  harmony  of  the  whole. 


To  dispute  the  existence  of  any  one  of  the  Trinity  of  the  Soul, 
Mind  and  Body,  one  must  deny  the  existence  of  the  other  two. 


160 


TO  BEACH  THE  SOUL 


The  Body  must  be  perfected.  The  mind  expresses  its  intelligence 
through  the  motions  of  the  body,  until  this  intelligence  calls 
for  a  deeper  feeling  from  the  heart,  which  opens  the  channel, 
through  which  flows  our  Personal  Magnetism  and 


THE  SOUL  RESPONDS 


With  its  flow  of  Personal  Magnetism  or  Soul  Magnetism  •  and  it  is 
then  registered  at  the  brain,  the  seat  of  intelligence.  Constant 
cultivation  of  this  nature  will  develop  an  intelligence  from 
the  Soul  which  is  an  inspiration.  The  mind  or  mental  force, 
through  the  action  of  the  body,  gives  out  this  soul  feeling 
until  you  (the  student)  can  feel  this  soul  presence,  and  it  will 
touch  your  auditor  and  he  will  feel  it,  and  then  we  are  com- 
pleting the  Harmony  of  the  Soul,  Mind  and  Body,  which  is 


THE  GRACE  OF  MAN. 


161 


DUALITY. 


DUALITY. 

1.  God  and  Man. 

2.  Man  and  Woman. 

3.  Day  and  Night. 

4.  Light  and  Shade. 

5.  Love  and  Hate. 

6.  Joy  and  Sorrow. 

7.  Spiritual  and  Physical. 

In  this  study — Duality  is  in  the  opposites,  and  one  is  not  complete 
without  the  other. 

The  Harmony  is  in  the  blending  of  these  two  by  a  third  element. 

1.  God  and  Man — by  the  Soul. 

2.  Man  and  Woman — by  Marriage. 

3.  Day  and  Night — by  Time. 

4.  Light  and  Shade — by  Emotion. 

5.  Love  and  Hate — by  Will  Power. 

6.  Joy  and  Sorrow — by  Love. 

7.  Spiritual  and  Physical — by  Life  Force. 

NOTE— Hate  is  essential  to  Love,  on  lines  of  purity.     Love  is  purity.    To  Love  we 
must  Hate  impurities. 


In  this  short  study  the  student  if  he  has  carefully  gone  over  this 
work,  should  be  able  to  understand  a  volume,  as  this  subject  has 
been  covered  by  most  eminent  writers  as  Emerson  and  others. 
The  author  wishes  to  state  that  in  showing  the  Duality,  the 
additional  philosophies  are  brought  out,  viz  :  That  one  is 
essential  to  the  other  and  why ;  by  showing  the  third  element  or 
link  that  constitutes  a  complete  harmony  and  makes  a  harmony 
of  the  whole. 

164 


STUDIES  IN  GRACE. 


STUDIES  IN  GRACE. 


The  studies  given  here  are  exercises,  most  of  which  are  from  the 
different  parts  of  the  study  of  Curved  Lines,  blended  together  mak- 
ing a  complete  story.  They  are  placed  in  rotation  and  are  the  result 
or  fruit  of  the  work  and  may  be  executed  in  groups,  or  by  an  entire 
class,  or  as  a  duet,  trio  or  solo  ;  used  as  an  artistic  performance  or 
number  on  a  program.  Slow  gavotte  music  is  suitable ;  the  one 
given  on  the  last  page  applies  more  to  the  "  Visions  or  play  of  the 
Emotions,"  although  it  is  suitable  for  either.  The  first  study,  "  The 
Blending  Pictures,"  should  be  taken  up  at  the  seventh  lesson ;  the 
second  study  "  The  Visions,"  at  the  twenty-first  lesson  ;  the  third 
study  "  A  Solo,"  at  the  thirty-fifth  lesson,  requiring  fourteen  lessons 
with  the  regular  study  to  complete  each  number,  making  a  total  of  fifty 
lessons.  Although  they  may  all  be  mastered  in  twenty-one  lessons. 


THE  BLENDING  PICTURES. 

The  Blending  Pictures  consist  of  seven  sets  of  poses  and  are  re- 
presentations from  works  of  art,  sculpture,  paintings,  creations  of 
fiction  and  subjects  from  daily  life.  The  perfection  of  their  execu- 
tion is  the  perfect  blending  of  one  pose  into  that  of  the  other  ;  no 
break  occuring  from  the  opening  to  the  finale.  They  are  executed  in 
the  following  order  per  the  illustrations  and  explanations  on  page  170. 
(1.)  The  Gladiator,  Niobe,  Attraction  and  Surprise.  (2.)  The 
flight  of  the  birds,  showing  ten  Attitudes.  (3.)  The  three  statues, 
the  Water  Carrier,  Grace  (the  Arch  Pose)  and  Justice.  (4.)  Sorrow, 
Divine  Supplication,  Prayer,  Resignation,  the  Diver,  Defiance,  the 
Sword,  and  the  Cause  Forever.  (5.)  The  Side  View  Attitudes,  the 
Pirouette  and  Coquette  (courtsey).  (6.)  Anticipation,  Horror,  the 
Fall,  the  Awakening.  (7.)  The  Arabesques  and  finale. 


166 


THE  VISIONS,  OR  THE  PLAY  OF  THE  EMOTIONS. 

This  is  a  recital  of  seven  visions,  the  subjects  seen  and  described  by 
the  interpreter  and  may  be  executed  by  a  class  standing  in  couples. 
When  used  as  a  solo,  at  Visions  Nos.  5  and  6,  the  movements  of  one 
person  are  first  executed  and  in  the  repetition  of  the  Vision  the  second 
persons  are  impersonated.  Each  Vision  is  a  story  in  itself.  These 
Visions  are  supposed  to  have  appeared  to  the  reciter  and  are  vividly 
retold  as  per  illustrations  and  explanations  on  page  1 74.  Their  perfect 
execution  depends  greatly  on  the  continuous  blending  of  one  pose  into 
that  of  the  other.  A  short  description  of  each  Vision  is  appended. 

THE  VISION  OF  ONE  ON  HIGH. — Listen,  while  I  relate  of  a  wonder- 
ful vision  of  a  celestial  being  and  I  an  earthly  worm,  (from  page 
90,  No.  6.) 

THE  VISION  OF  THE  GATEWAY  OF  HEAVEN — DEATH. — Emerging 
through  the  Veil  of  Isis  came  Death ;  overcome  with  horror,  I 
faint ;  awakening,  fascination  draws  me  closer,  then  with  ex- 
hilarated joy,  I  recognize  Death  as  but  the  Gates  of  Heaven, 
(from  page  80,  No.  7.) 

THE  VISION  OF  ANGELS  AT  PLAY. — A  blending  of  Harmony  and 
Grace  inspired  by  a  divine  choir,  with  reverence  for  a  sublime 
power  always  uppermost ;  then  the  blendings  end  in  a  picture. 

THE  VISION  OF  "  IN  A  GARDEN  FAIR." — I  am  transported  to  a 
veritable  Garden  of  Eden.  An  Apollo  gliding  toward  a  balcony 
whereon  stood  his  goddess ;  sending  forth  his  whole  soul,  he 
attracts  her  attention.  In  the  exhilaration  of  bliss  he  moves  on 
air ;  a  kiss,  a  heart  of  joy,  ecstasy,  seems  to  spring  from  his  soul, 
(from  page  80,  No.  6.) 

THE  VISION  OF  THE  ACCUSED. — Now  Stygian  darkness  in  which 
stands  one  accused,  beside  her  the  accuser,  stern  and  relentless ; 
she  beseeches  mercy,  then  for  a  moment  sympathy  vibrates  in 
both  hearts ;  the  next  attitude  is  the  one  of  prayer,  and  that  of 
the  other,  humility. 

THE  VISION  OF  THE  MINUET. — The  cloud  of  age  is  now  unfolded, 
soft  music  of  a  bygone  era  floats  through  the  air.  In  powdered 
wig  and  buckled  shoes,  with  lady  fair,  they  pose  the  Minuet ; 
the  stately  turn,  they  pose  in  arms,  a  blending  and  the 
salutations — 'tis  seen  no  more. 

THE  VISION  OF  THE  GRACES. — Floating,  blending  goddesses  with 
garlands  round  entwined,  in  procession  now  appeared.  The 
panel  figures  of  an  old  mosaic  hall  were  living,  breathing  beings 
now  once  more.  Fainter  grew  the  mist — the  procession  passed 
from  view. 

This  description  is  usually  printed  on  the  program  and  sometimes 
recited  before  the  opening. 

167 


A  SOLO. 

Taken  from  Exercises  in  this  Book. 


In  this  study  the  selection  has  been  made  of  exercises  relating  to 
the  soul  and  higher  emotions.  Each  study  being  complete  within 
itself.  There  are  perfect  blending  movements  at  the  finish  of  each, 
connecting  them  with  the  commencement  of  the  one  following  ;  this 
will  also  be  found  in  the  "Blending  Pictures  "  and  "  The  Visions." 
They  are  executed  in  the  following  order,  per  the  illustrations  and 
explanations  on  page  178.  (1.)  "  The  Call  to  God."  (2.)  "  The 
Kepentant."  (3.)  "  Take  my  Soul  in  Thy  Keeping."  (4.)  "  A 
Pastoral."  (5.)  The  "  Blendings."  (6.)  "  The  Emotion  of  Love," 
and  (7.)  "  The  Finale."  This  entire  study  relates  to  the  Soul 
and  the  Spiral  Movements.  A  description  for  their  proper  expression 
and  intent  are  herewith  given. 


THE  CALL  TO  GOD. — To  Him,  Almighty  Power,  I  consecrate  my 
soul,  my  all  to  thee.  Take  me,  sinner  that  I  am,  I  fear  my  soul ; 
I  am  unheard,  but  no,  it  is  the  Merciful  Shepherd,  the  Almighty 
God  of  all,  (from  page  86,  Xo.  2.) 


THE  REPENTANT. — Shadows  enshroud  me,  misery  of  an  unknown 
fear  possesses  me.  A  ray  of  light,  one  hope,  with  outstretched 
arms  I  try  to  grasp,  but  bitter  disappointment.  Another  chance 
to  save  this  soul  of  mine,  but  blank  despair  confronts  me,  a  reason 
lights  mine  eyes,  at  last  to  Thee,  O  God  of  all  I  trust,  my  prayer 
e'en  now  gives  me  content,  I  am  resigned,  (from  page  72,  No.  6.) 


168 


TAKE  MY  SOUL  IN  THY  KEEPING.— A  dream  of  golden  sunshine 
bursts  softly  over  all,  it  is  the  Soul's  awakening.  The  palpita- 
tion of  my  bliss  cannot  be  held.  What  joy  supreme,  my  soul, 
my  life  !  O  spare  this  weak  and  earthly  casement.  Behold  the 
outer  shrine  of  my  Creator,  Thy  presence  doth  enwrap  me,  I  am 
Thine,  (from  page  88,  No.  3.) 

A  PASTOEAL. — In  nature's  woodland  garden,  a  poet  roamed.  The 
air  seemed  filled  with  music  from  a  babbling  brook  and  all  the 
forest  life.  Enwrapped  in  nature's  folds,  his  soul  responded  to 
her  calls.  From  mild  interest,  all-absorbing  the  story  grew, 
until  the  inspiring  greatness  that  surrounded  him,  inspired  him, 
and  carried  his  ardor  to  the  floating  realms  above,  (from  page  78, 
No.  4.) 

THE  BENDINGS. — With  grace  in  every  blend  and  turn,  the  figures 
move.  The  attitudes  show  suppleness  and  are  very  graceful, 
(from  Study  of  Attitudes,  page  110.) 

THE  EMOTION  OF  LOVE. 

"  As  the  stars  above  could  never  be  more  true, 
There  is  my  heart,  my  dearest  one  for  you, 
I'd  love  to  tell  the  story  o'er  and  o'er, 

And  in  thy  presence  be  for  ever  more." — Song. 

(from  page  78,  No.  5.) 

THE  FINALE. — With  ease  and  grace  personified,  their  bodies 
poised  in  balancing  attitudes,  as  if  suspended  in  mid  air.  The 
god  Mercury  now  appears ;  a  graceful  curve  or  turn,  and  then 
these  graceful  gods  have  disappeared. 


169 


THE  BLENDING  PICTURES. 

No.   1.    POSES.     GLADIATOR,   NIOBE,   ATTRACTION,    SURPRISE. 


3  times. 


No.  2.     THE  FLIGHT  OF  THE  BIRDS. 


Execute  No.  2 
left  arm  ex- 
tended, back 
to  audience. 


Execute  No.  3 
back  to 
audience. 


Execute  No.  4 
right  arm  up. 

Back  to 
audience. 


Execute  No.  5 
right  arm  up. 
Back  to 
audience. 
Start  to  re- 
turn to  face 
position. 


No.  3.    THE  STATUES  AND  WATER  CARRIER. 


ARCH  POSING.    JUSTICE. 


170 


EXPLANATION. 

Executed  by  a  group — stationary  ;  standing  in  separated  positions. 
Use  (soft,)  slow  gavotte  music  with  expression  ;  to  assume  attitudes 
count  4,  and  hold  attitude,  4  counts. 

No.  1.     GLADIATOR,  (3  times)  AND  NIOBE.     ATTRACTION,  (3  times) 
AND  SURPRISE. 

Start  by  passing  arms  through  positions  and  assume  pose  of 
Gladiator  per  cut  1  ;  this  is  a  Straight  (forward  knee  bend)  Attitude, 
with  left  knee  bent,  right  arm  in  front  and  left  arm  in  counter  pose. 
Dissolve  attitude  to  natural  position  and  repeat  Gladiator  (reverse)  by 
sliding  left  foot  forward,  etc.  Dissolve  attitude  to  natural  position 
and  assume  Gladiator  as  at  first,  moving  forward  at  each  pose.  The 
fourth  time  (pass  arms  through  arm  positions)  assume  pose  of  Niobe, 
per  cut  2.  Body  natural  (pass  arms  through  position)  and  assume 
pose  of  Attraction,  per  cut  3  ;  dissolve  attitude  to  natural  position 
and  repeat  Attraction  to  left,  then  again  to  right ;  the  fourth  time 
(arms  through  positions)  assume  pose  of  Surprise,  per  cut  4. 

No.  2.     THE  FLIGHT  OF  THE  BIRDS. 

Indicate  the  start  of  the  flight  by  pointing,  per  cut  1.  The  flight  is 
traced  to  front,  per  cut  2.  Cuts  Nos.  3  and  4  show  where  the  trace 
is  taken  up  by  the  left  hand.  Cut  No.  5  illustrating  their  flight, 
going  around  and  overhead,  the  head  and  hand  following,  until  the 
body  is  turned  about,  per  cut  6,  the  back  bend  now  occurs,  per  cut  7. 
Cut  No.  8  is  recovering  to  an  upright  position  ;  now  the  same  move- 
ments, per  cuts  Nos.  2,  3,  4,  5,  are  repeated  with  back  to  audience  ; 
this  last  is  the  body  turning  (face)  front.  Cut  9  places  arms  same  as 
second  pose  ;  cut  10  is  arms  preparatory  to  assume  first  position. 
Cut  11  is  a  slow  fluttering  movement,  denoting  the  birds' 
settling  where  they  started  from.  Cut  12  showing  the  finish.  Every 
movement  is  illustrated,  and  should  be  executed  as  one  continuous 
movement ;  the  feet  are  moved  very  little ;  the  body  being  turned  by 
pivoting  on  the  ball  of  the  feet.  This  number  requires  16  bars  of  music. 

No.  3.     THE  STATUES   (3  times)  AND  WATER  CARRIER.     THE 
ARCH  POSE  (2  times)  AND  JUSTICE. 

Pass  arms  through  positions  and  assume  first  statue ;  this  is  an 
Arch  (forward  right)  Attitude,  f  view  front,  per  cut  1.  Dissolve  to 
a  natural  position,  repeat  same  to  forward  left  and  assume  second 
statue,  per  cut  2.  Dissolve  attitude  and  step  back  with  left  foot,  (pass 
arms  through  positions)  and  assume  third  attitude ;  this  is  a  Straight 
(back  knee  bend)  Attitude.  Dissolve  to  a  natural  position  and  assume 
Pirouette  pose,  per  cut  No.  4,  turn  and  assume  pose  of  Water  Carrier, 
per  cut  5.  From  pose  of  Water  Carrier  form  Arch  (right)  Attitude, 
per  cut  6.  Continue  arm  movements  to  cut  7  ;  continue  arm  move- 
ments to  cut  8 ;  continue  arm  movements  to  cut  9  ;  then  continue 
arm  movements  to  cut  10,  making  a  turn  and  finish  by  assuming  the 
pose  of  Justice,  per  cut  11. 

171 


No.  4.    SIDE  VIEW  ATTITUDES.     PIROUETTE  AND  COQUETTE. 


Repeat  Nos.  1 

and  2. 
Move  tack. 


Repeat  Nos.  3 

and  4. 
Move  forward. 


No.  5.  POSES.  SORROW,  DIVINE  SUPPLICATION,  PRAYER,  EES- 
IGNATION,  DIVER,  DEFIANCE,  THE  SWORD  AND  THE 
CAUSE  FOREVER. 


ttmi  n 


No.  6.     POSES.    ANTICIPATION,   HORROR,   FALL,    AWAKENING. 


No.  7.    THE  ARABESQUES  AND  SALUTES. 


i (  Yi-^H  V — I    —  //       IHff       \ 

Itt  Itttl  tf 

172 


No.  4.  SIDE  VIEW  ATTITUDES  (4  times.)  PIROUETTE  AND 
COQUETTE  (4  times.) 

From  the  pose  of  Justice  to  the  Side  View  Attitudes,  it  is  only 
necessary  to  step  back  with  left  foot,  presenting  the  right  side  view 
of  the  body  ;  the  arms  are  already  in  position,  per  cut  1.  Follow 
arm  positions  and  place  right  foot  behind  and  present  a  left  side  view 
of  body,  per  cut  2.  Kepeat  right  side,  as  per  cut  1  ;  repeat  left  side, 
per  cut  2 ;  move  back  at  each  attitude.  Now  pass  arms  through 
positions,  step  forward  and  assume  pose  of  Pirouette  and  turn,  per 
cut  3  ;  continue  arm  positions  and  do  pose  Coquette,  per  cut  4. 
Execute  this  Pirouette,  turn  and  Coquette  (moving  forward)  4  times. 

No.  5.  POSES.  SORROW,  DIVINE  SUPPLICATION,  PRAYER,  RES- 
IGNATION, DIVER,  DEFIANCE,  THE  SWORD,  THE 
CAUSE  FOREVER. 

Start  by  assuming  natural  attitude ;  then  blend  to  pose  of  Sorrow, 
per  cut  1.  Dissolve  to  natural  position,  follow  arm  positions  and 
assume  pose  of  Divine  Supplication,  per  cut  2 ;  this  is  an  Arch 
(outward)  Attitude.  Next — this  same  attitude,  place  arms  across 
breast,  per  cut  3.  Slowly  kneel,  per  cut  4  and  bend  back.  Slowly 
bend  forward  and  relax,  per  cut  5.  Rise,  pass  arms  through  positions 
and  assume  pose  of  the  Diver,  per  cut  6 ;  this  is  an  Arch  (inward) 
Attitude.  Dissolve  to  natural  position,  follow  arm  positions  and 
assume  Arch  (outward)  Attitude,  per  cut  7 ;  leave  arms  down  to 
crossed  on  breast  and  assume  a  Straight  (back)  Attitude,  side  view, 
which  is  the  pose  of  Defiance,  per  cut  8.  Follow  arm  positions  and 
assume  pose  The  Sword  ;  this  is  a  Straight  (forward  knee  bend)  At- 
titude, per  cut  9.  Dissolve  arms  (retain  same  attitude,)  per  cut  10  ; 
at  last  pass  arms  through  positions  and  spiral  the  body  and  arms,  per 
pose,  The  Cause  Forever,  cut  11. 

No.  6.  POSES.  ANTICIPATION  (3  times)  HORROR.  THE  FALL 
AND  THE  AWAKENING. 

Start  to  assume  natural  position  from  last  attitude,  then  assume 
pose  of  Anticipation  to  right,  per  cut  1  ;  follow  arm  movements  and 
repeat  same  to  left ;  repeat  to  right.  Dissolve  to  natural  position, 
follow  arm  movements  and  assume  pose  of  Horror ;  this  is  a  Straight 
(left  knee  bend)  Attitude,  per  cut  2.  At  count  of  four  of  that  bar  of 
music  Jail,  per  cut  3  ;  remain  thus  to  end  of  strain  of  music.  Now 
slowly  rise  £,  per  cut  4;  the  hand  traversing  face  as  if 
Awakening  ;  now  rise  J,  per  cut  5,  and  repeat  hand  movement.  Next 
kneel,  per  cut  6,  and  start  the  spiral  movement  of  body  and  arms — 
rise  and  finish,  per  cut  7. 

No.  7.     THE  ARABESQUES  AND  SALUTES* 

Pass  arms  through  positions  and  assume  Pirouette  position  and  turn, 
per  cut  1 ;  when  turning  pass  arms  through  position  and  at  face  front 
assume  an  Arabesque  attitude,  per  cut  2.  Repeat  the  Pirouette  (turn), 
per  cut  3,  and  when  face  front  Salute,  per  cut  4.  Repeat  this  number 
until  exit  or  to  the  finish  of  the  strain  of  music. 
NOTE— Move  backward  on  each  pirouette,  count  4  for  a  movement  and  4  for  an  attitude. 

173  H 


THE  VISIONS  OR  PLAY  OF  THE  EMOTIONS. 

No.  1.     THE  VISION  OF  ONE  ON  HIGH. 


No.  2.    THE  VISION  OF  THE  GATEWAY  OF  HEAVEN  —  DEATH. 


fflftff 


No.  3.     THE  VISION  OF  THE  ANGELS  AT  PLAY. 


tftlt 


174 


EXPLANATION. 

Executed  by  a  group — stationary  ;  standing  in  couples.  Use  Viola 
Gavotte,  page  182.  Count  4  each  to  assume  attitudes,  and  to  hold  at- 
titudes. 

No.  1.     THE  VISION  OF  ONE  ON  HIGH. 

Pass  arms  through  positions  and  assume  first  pose,  "Attention," 
per  cut  1  ;  this  is  a  Straight  (forward)  Attitude.  Follow  arm  move- 
ments and  assume  pose  "  Telling  a  Multitude,"  per  cut  2  ;  this  is  a 
Straight  (back)  Attitude.  Follow  arm  movements  and  assume  pose 
"  There  Appeared,"  per  cut  3  ;  this  is  a  Straight  (right  knee  bend) 
Attitude,  and  point  right  hand,  left  going  to  1st  upper,  assume  pose 
"  Was  Seen,"  per  cut  4.  Follow  arm  movements  and  assume  pose, 
"  Surprise,"  per  cut  5  ;  this  is  a  Straight  (back  knee  bend)  Attitude. 
Recover  to  natural  position  and  execute  a  Spiral  Motion  of  the  body 
(left  hand  leading)  and  assume  pose  "  Of  One  on  High,"  per  cut  6. 
The  last  is  a  collapse  or  relaxation,  per  cut  7.  Repeat  entire  (reverse) 
start  with  left  arm,  etc. 

No.  2.     THE  VISION  OF  THE  GATEWAY  OF  HEAVEN. — DEATH. 

From  standing  position  move  arms  and  slowly  kneel  (right  foot  in 
front)  and  assume  pose,  "  Discovery,"  per  cut  1.  Rise  slowly,  move 
arms  and  assume  pose,  "  Unable  to  Fathom,"  per  cut  2  ;  this  is  a 
Straight  (back  knee  bend)  Attitude.  Follow  (body  natural)  arm 
positions,  blend  body  and  assume  pose,  per  cut  3 ;  this  is  an  Arch 
(left  knee  bend)  Attitude.  Now  (body  natural)  move  arms  and 
assume  pose,  per  cut  4  ;  this  is  an  Arch  (right  knee  bend)  Attitude  ; 
the  expression  of  the  last  two  attitudes  means  "  Curiosity  and  Dawn- 
ing," now  step  on  right  foot  and  assume  pose,  per  cut  5  ;  this  is  a 
Straight  (forward  knee  bend)  f  front ;  clinch  hands  ;  the  expression 
of  head  and  shoulders  is  "  Horror."  Remain  with  weight  on  right 
foot,  assume  arm  position  and  assume  pose,  "  Realization,"  per  cut 
6  ;  this  is  an  Arch  (outward)  Attitude,  f  front  view.  The  last 
is  Pirouette,  turning  as  if  fainting,  per  cut  7  ;  now  kneel,  per  cut  8  ; 
meaning  "  The  Truth — Heaven."  Rise  and  repeat  entire,  reversing 
all  movements.  The  mental  is  now  purely  spiritual  and  the  face 
should  express  Seeing  the  Gates  of  Heaven. 

No.  3.     THE  VISION  OF  THE  ANGELS  AT  PLAY. 

From  last  attitude  simply  rise  and  assume  pose,  per  cut  1  ;  this  is 
an  Arch  (right)  Attitude  ;  dissolve  to  natural  position,  follow  arm 
movements  and  execute  Spiral  Motion,  per  cut  2.  Now  assume  3d 
position  of  arms  and  blend  to  an  Arch  (left)  Attitude  and  repeat 
same  on  left  side,  per  cuts  3  and  4.  Now  assume  3d  position  of  arms 
and  repeat  same  to  right  side,  per  cuts  Nos.  1  and  2.  Finish  by 
placing  both  hands  over  head,  pivot  or  turn  around,  per  cut  5  ;  at 
face  front  bend,  per  cut  6. 

175 


No.  4.     THE  VISION  OF  IN  A  GARDEN  FAIR. 


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No.  5.     THE  VISION  OF  THE  ACCUSED. 


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No.^6.    THE  VISION  OF  THE  MINUET. 


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No.  7.     THE  VISIONS  OF  THE  GRACES.     THE  ARABESQUES. 


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FINALE. 


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No.  4.  THE  VISION  OP  IN  A  GARDEN  FAIR. 
From  last  attitude  move  body  gracefully  forward  and  assume  pose, 
per  cut  1  ;  now  move  both  arms  from  left  side  diagonally  up  to  right 
side  ;  assume  pose,  "  He  Calls  to  Her,"  per  cut  2.  Return  arms  to 
left  side  look  up,  and  assume  pose,  "His  Presence  There,"  per 
cut  3.  Then  (body  natural)  follow  arm  movements  and  assume  pose, 
"His  Heart,"  per  cut  4  ;  this  is  an  Arch  (right)  Attitude,  £  front 
view,  with  left  hand  on  heart.  Follow  arm  movements  (body 
natural)  and  assume  pose,  "  His  Lips,"  per  cut  5 ;  the  fingers 
traverse  lips.  Follow  (body  natural)  arm  movements  and  assume 
pose,  "  His  Worship,"  per  cut  6 ;  this  is  an  Arch  (right)  Attitude 
aud  hands  are  clasped.  Now  move  arms  and  assume  pose,  "  His 
Perplexity,"  per  cut  7;  this  is  a  Straight  (left  knee  bend)  Attitude.  Re- 
peat entire  from  right  side,  use  reverse  positions.  Use  Trio  of  Gavotte. 

No.  5.     THE  VISION  OF  THE  ACCUSED. 

Both,  pass  arms  through  position  and  assume  attitude,  per  cut  1  ; 
the  first  is  "  Weeping,"  which  is  an  Arch  (inward)  Attitude,  f  view 
front ;  the  second  is  the  "  Accuser."  Dissolve  to  body  natural  and 
assume  attitudes,  per  cut  2 ;  the  first  is  an  Arch  (outward)  Atti- 
tude ;  the  second  is  a  Straight  (back)  Attitude.  Dissolve  attitudes 
assume  next  picture,  per  cut  3 ;  these  are  both  Straight  (knee  bend) 
Attitudes.  Dissolve  attitudes  aud  assume  last  picture,  per  cut  4  ; 
the  first  is  a  Kneeling  Attitude  ;  the  second,  the  arm  movement  of 
left  arm  traverses  the  brow  before  assuming  the  attitude.  Repeat  entire. 

No.  6.    THE  VISION  OF  THE  MINUET. 

Dissolve  to  a  natural  position,  then  both  give  right  hand  to  partner, 
raise  it  and  extend  right  foot,  per  cut  1.  Now  lady  turns  backward, 
per  cut  2,  and  moves  backward  into  partner's  arms,  per  cut  3.  Next 
dissolve  attitudes,  which  places  them  in  their  partner's  place  ;  turn 
slowly  around,  per  cut  4  ;  when  face  front,  salute,  per  cut  5.  Repeat 
entire  in  reverse  by  giving  left  hand  and  pointing  left  foot,  etc. 

No.  7.     VISION  OF  THE  GRACES.     THE  ARABESQUES. 

Assume  arm  positions,  with  an  Arch  (left  side)  Attitude,  follow 
arm  movements  per  cuts ;  at  3d  position  body  blending  through 
natural  body  pose  to  an  Arch  (right  side)  Attitude,  and  assume 
Mercury  pose,  per  cut  1.  Continue  with  body  in  this  Arch  Attitude 
(the  face  to  front)  and  pass  arms  through  positions  per  cuts  until  3d 
position,  here  blend  body  through*  natural  pose  to  an  Arch  (left  side) 
Attitude,  and  assume  Mercury  Pose,  per  cut  2.  To  continue  from 
last  Attitude  the  lower  hand  is  passed  to  1st  upper  as  per  cut ;  from  this 
position  return  to  beginning,  repeat  entire,  making  one  continuous 
blending. 

FINALE. 

Assume  Pirouette  and  turn,  same  time  moving  backward,  per  cut  1, 
at  face  front  salute  per  cut  2.  Repeat  Pirouette  (reverse)  turn,  going 
backward,  per  cut  3  ;  at  face  front  salute,  per  cut  4.  Repeat  until 
off  stage  or  to  the  end  of  the  strain  of  music. 

177  15 


A  SOLO,  FROM  THIS  STUDY. 

No.  1.     THE  CALL  TO  GOD. 


tn 


No.  2.     THE  REPENTANT. 


No.  3.     TAKE  MY  SOUL  IN  THY  KEEPING. 


178 


EXPLANATION. 

Executed  as  a  Solo,  but  may  be  performed  by  any  number.  Sta- 
tionary positions,  well  separated.  Use  slow  Gavotte  music  or  an 
appropriate  Hymn,  and  sway  to  its  rhythm. 

No.  1.      THE  CALL  TO  GOD. 

Execute  a  spiral  movement  of  the  body  and  assume  pose  "  To 
Him,"  per  cut  1 .  Move  arms  through  next  positions,  and  assume  a 
Straight  (back  knee  bend)  Attitude  ;  look  up  as  if  "  Offering  yourself 
to  God,"  per  cut  2.  Follow  arm  movements,  (body  natural,)  and  by 
a  spiral  body  motion  assume  pose  "  The  Call  to  God,"  per  cut  3. 
This  is  an  Arch  (outward)  Attitude,  f  view  front,  and  is  easily  as- 
sumed by  placing  weight  on  front  foot.  Move  arms  through  positions 
(body  natural)  and  assume  pose  "  The  Doubt,"  per  cut  4.  This  is  a 
Straight  (left  side  knee  bend)  Attitude,  the  left  hand  traverses  face 
from  second  position.  Follow  arm  movements,  and  assume  pose 
"  Answered,"  per  cut  5.  Eecover  a  natural  pose  by  following  the 
last  positions.  Repeat  entire  (reverse)  left  hand  and  actions  to  left,  etc. 

No.  2.      THE  REPENTANT. 

Move  arms  to  first  impersonation  "  The  Penitent,"  per  cut  1.  This 
is  an  Arch  (inward  knee  bend)  Attitude ;  the  arms  go  to  head  and  3d 
lower  position,  with  the  entire  body  and  mentality  expressing  the 
sense  of  the  subject.  Next,  (body  natural,)  pass  the  arms  through 
positions  and  assume  pose  "  The  Cry  of  Anguish,"  per  cut  2 ;  the 
physical  and  mental  expressing  the  sense,  by  starting  from  a  slight 
sinking  movement,  and  thus  emphasizing  a  stronger  effect.  Follow 
arm  positions,  and  assume  pose  "  Hope  Gone,"  per  cut  3.  The 
drooping  of  the  head  and  an  inward  bend  well  express  it,  if  the 
mind  has  been  so  imbued.  Follow  arm  movement  and  assume  pose 
"  A  Faint  Hope,"  per  cut  4.  This  is  a  Straight  (right  knee  bend) 
Attitude,  the  inclination  of  head  denoting  the  intent.  Follow  arm 
movement  and  assume  pose  "  Disappointment,"  per  cut  5.  This  is  a 
Straight  (left)  Attitude,  hand  to  chin  and  right  extended.  Follow 
arm  movements  and  assume  pose  *'  To  God  I  Trust,"  per  cut  6.  This 
is  an  Arch  (outward)  Attitude,  with  hands  clasped  ;  now  simply 
kneel,  per  cut  7,  leaning  backward.  The  last  is  a  relaxation  study 
forward,  per  cut  8.  Rise  and  repeat  (reverse),  right  hand  and  actions 
to  left,  etc. 

No.  3.    TAKE  MY  SOUL  IN  THY  KEEPING. 

From  kneeling  pose,  rise  and  execute  a  spiral  motion  of  the  body 
with  arm  movements,  and  assume  pose  "  The  Soul's  Awakening," 
per  cut  1.  This  is  an  Arch  (outward)  Attitude,  f  front  view,  facing 
right.  Recover,  (body  natural),  and  at  same  time  about  face  (to  left) ; 
follow  arm  movements  and  assume  pose  "  Suppressed  Suspense,"  per 
cut  2  j  covering  the  face,  swaying  the  body  back  and  forth.  Recover, 
(body  natural),  execute  a  spiral  motion,  and  assume  pose  "  My  Soul," 
per  cut  3.  This  is  an  Arch  (outward)  Attitude,  f  front  view,  facing 
left.  Now  slowly  slide  right  foot  backward  and  kneel,  (eyes  looking 
up),  "  In  Thy  Keeping,"  per  cut  4.  Repeat,  by  rising  and  blending 
in  the  first  Attitude,  face  left,  etc. 

179 


No.  4.    A  PASTORAL. 


No.  5.     THE  BENDTXGS. 
If 


No.  6.     THE  EMOTION  OF  LOVE. 


/        v  Y  //        I 

I  Htlttt 


No.  7.     THE  FINALE. 


180 


No.  4.      A  PASTORAL. 

Follow  arm  positions  and  assume  pose  per  cut  1  ;  this  is  a  Straight 
(forward  knee  bend)  Attitude  ;  the  Wave  Motion  is  diagonally  up- 
ward in  front ;  start  from  a  sinking  movement  of  the  body  and  go 
upward,  diagonally  forward.  Follow  arm  motions  and  assume  pose 
per  cut  2 ;  this  is  a  Straight  (back)  pose.  Follow  arm  positions, 
and  assume  pose  per  cut  3 ;  this  is  a  Straight  (forward  knee  bend) 
Attitude ;  sway  the  body  forward  and  backward.  Follow  arm  posi- 
tions, and  assume  pose  per  cut  4 ;  this  is  a  straight  (back)  pose. 
Follow  arm  positions,  and  assume  pose  per  cut  5  ;  this  is  a  Straight 
(forward  right  knee  bend)  Attitude ;  sway  the  body  forward  and 
backward.  These  movements  mean  "A  Poet  Wandering,"  and  "Gath- 
ering Inspiration."  Follow  arm  positions,  and  assume  pose  "  Re- 
ceiving Inspiration,"  per  cut  6 ;  this  is  an  Arch  (outward)  Attitude. 
Follow  arm  positions,  and  assume  pose  "  I  am  Inspired,"  per  cut  7  ; 
this  is  a  spiral  motion  of  the  body.  Repeat  entire  (reverse)  left  arm 
and  action  to  left. 

No.  5.      THE  BENDINGS. 

Assume  Pirouette  pose  and  turn,  per  cut  1 ;  at  face  front  bend  to 
right,  per  cut  2.  Recover  and  assume  Pirouette  pose  ;  turn,  per  cut  3 ; 
at  face  front  bend  to  left,  per  cut  4.  Recover,  assume  Pirouette  pose, 
turn  J,  per  cut  5  ;  when  back  is  to  audience,  bend  backward,  per 
cut  6.  Recover  and  pose  side  view,  per  cut  7.  Recover  and  face 
front  and  salute,  per  cut  8.  (Not  repeated.) 

No.  6.      THE  EMOTION  OF  LOVE. 

Follow  arm  positions  and  assume  pose  "  The  Stars  Above,"  per 
cut  1.  Follow  arm  positions  (face  right)  and  assume  pose  "  To  Thee, 
my  Heart,"  per  cut  2.  Follow  arm  positions  and  assume  pose 
per  cut  3.  Follow  arm  positions  (face  right)  and  assume  pose 
per  cut  4.  Now  kneel,  place  hand  at  heart  and  right  extended,  as  in 
the  pose  "  At  Thy  Feet,"  per  cut  5.  (Not  repeated.) 

No.  7.      FINALE. 

Follow  arm  movements  and  assume  pose  "  Mercury  Balance,"  to 
the  right,  per  cut  1.  Follow  arm  movements  and  assume  pose 
"Mercury  Balance,"  to  left,  per  cut  2.  Follow  arm  movements 
and  assume  "  Pirouette,"  and  turn,  per  cut  3 ;  at  face  front  salute, 
per  cut  4.  Repeat  entire  until  end  of  strain,  or  until  off.  NOTE. — At 
each  turn  move  to  right,  and  when  near  edge  of  stage,  disappear. 


181 


VIOLA 

Gavotte. 


MAGGIE    GOLDKN 


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Complete  copy  of  this  beautifbl  Gavotte  may  be  had  of  the  publishers, 

THE  GEO.  B.  JENNINGS  Co.,  Cincinnati,  Ohio. 
183 


APPENDIX. 


FOR  THE  TEACHER,  (OR  SELF-IMPROVEMENT.) 
Each  study  is  complete  under  separate  headings,  starting  with  easy 
construction  for  No.  1,  and  increasing  to  construction  No.  7.     The 
student  or  teacher  should  read  the  book  first,  and  then  master  each 
part  complete. 

To  IMPART  THE  STUDY. 

The  lesson  hour  should  be  divided  into  periods,  pep  the  following 
classification.  The  number  of  lessons  necessary  should  be  left  to  the 
teacher.  Herewith  are  given  the  periods  of  advancement  to  impart 
and  master  the  work  ;  these  periods  simply  show  how  the  work  is 
mastered.  At  the  seventh  class  lesson,  the  first  Study  in  Grace  should 
be  started.  Fifty  lessons  of  one  hour  each,  complete  the  work. 

1ST  PERIOD.  2o  PERIOD.  3o  PERIOD. 

Physical  Corrections,  %  time.    Physical  Corrections,  %  time.    Physical  Corrections,  %  time. 
GraceLines  ...............  l/i   "       Grace  Lines  ...............  J4    "       Grace  Lines  and  Con- 

Construction  ..............  y*    «'  struction  ...............  %    « 

Philosophy  ..................  ya   » 

4-ra  PERIOD.  STH  PERIOD. 

Physical  Corrections  ........................  Y2  time.       Physical  Corrections  ......................  %  time. 

Grace  Lines  and  Construction  ......  y±      "  Grace  Lines  and  Philosophy  .........  Vi      " 

Philosophy  and  Force  ...................  y±      "  Force  and  Harmony  ......  _  ................  y±      " 

6rn  PERIOD.  ?TH  PERIOD. 

Physical  Corrections  ......................  Va  time.       Physical  Corrections  ......................  %  time. 

Grace  Lines  and  Force  .....  ...........  y±     "  Force  and  Harmony  .......  .................  y6      " 

Harmony  ..........................................  14     "  Studies  in  Grace  ..............................  %      " 


CLASSIFICATIONS. 

1.  PHYSICAL  CORRECTIONS.  —  Include  the  entire  study  of  Gravity, 

pages   7-16  ;  Physical  Corrections,    Series    I,    n,    in,    pages 
17-51  ;  and  Flexibility,  pages  95-102. 

2.  GRACE  LINES.—  Includes  the  entire  study  of  Curved  Lines,  63-93. 

3.  CONSTRUCTION.—  Includes  the  entire  study  of  Attitudes,  105-1  20. 

4.  PHILOSOPHY.—  Includes  the  entire  study  of  the  Anatomy  of  the 

Elements  of  Man,  pages  53-61  ;  the  study  of  Mind,  Inspira- 
tion, Ideality,  Duality,  pages  151-164. 

5.  FORCE.  —  Includes  the  entire  Study  of  Force,  (including  Walk- 

ing;) Pages  121-134. 

6.  HARMONY.  —  Includes  the  entire  study  of  Poise,  Harmony  and 

Opposition,  pages  135-149. 

7.  GRACE.—  Includes  the  three  studies  in  Grace,  pages  165-183. 

SUB-CLASSIFICATION. 

r  1.    Gravity  .........  page    7. 


2.  Series      I 

XT  |  3.    Series    II 

No.  1.    PHYSICAL  CORRECTIONS  :  -j  4.    Series  III 

5.  Flexing 

6.  Relaxation.... 


7.    Falling 
184 


17. 

29. 

41. 

95. 
100. 
102. 


A     000019966     1 


